SYLLABUS 
 
 A COURSE OF LECTURES 
 
 HISTORY AND CRITICISM 
 
 BY GEORGE TICKNOR, 
 "2" 
 
 Smith Professor of French and Spanish Literature in Harvard University, and 
 Corresponding Member of the Royal Spanish Academy. 
 
 CAMBRIDGE . 
 PRINTED AT THE UNIVERSITY PRESS, 
 
 BY HLLLIARD AND METCALF. 
 1823.
 
 P9 
 
 ADVERTISEMENT. 
 
 THE Lectures on the History and Criticism of Spanish Lite- 
 rature, for which the present Syllabus has been prepared, are 
 about thirty-four in number, each an hour in length ; and there- 
 fore amount to two octavo volumes. They are prepared for 
 private classes in Harvard College, and delivered, three or more 
 in each week, so long as the course continues. The subject to 
 which they are devoted is, in many respects, new in Europe ; 
 and, in this country, is quite untouched. The Spaniards them- 
 selves have no work of history or criticism, embracing the 
 whole of their literature, or even its best portions ; and in Eng- 
 land, and in Italy, nothing has been done to assist them. Bouter- 
 wek, in his admirable History of Elegant Literature since the 
 conclusion of the thirteenth century (Geschichte der Poesie und 
 Beredsamkert seit dem Ende des dreizehnten Jahrhunderts, 12. 
 8vo. 1801-1819.) has given the third volume to Spain; and 
 Sismondi, in his eloquent work on the Literature of the South of 
 Europe, (De la Litterature du Midi de 1'Europe, 4. 8vo. 1813.) 
 throughout which he is largely indebted to Bouterwek, has de- 
 voted to the Spanish portion a part of his two last volumes. 
 These, however, are the only works on Spanish literature, that 
 need to be mentioned ; and I beg leave earnestly to recommend 
 them to my hearers. But both Bouterwek and Sismondi com- 
 plain of the want of access to a sufficient collection of Spanish 
 books, and their respective histories have certainly suffered 

 
 IV 
 
 much from it. This want, I have not felt. Accidental circum- 
 stances have placed within my control a collection of works in 
 Spanish literature nearly complete for such purposes. The de- 
 ficiences, therefore, which will be found in this Course of Lec- 
 tures, and to which, perhaps, no one can be more sensible than 
 myself, are not to be imputed to the want of materials ; and 
 may, I hope, be partly supplied by the labour of future years, 
 which I shall cheerfully bestow on a subject so new, so impor- 
 tant, and so interesting. 
 MAY 1, 1823.
 
 EPOCH FIRST. 
 
 THE LITERATURE THAT EXISTED IN SPAIN BETWEEN THE 
 FIRST APPEARANCE OF THE PRESENT WRITTEN LANGUAGE, 
 AND THE CLOSE OF THE REIGN OF THE EMPEROR CHARLES 
 V J OR THE PERIOD THAT CONTAINS THE ELEMENTS FROM 
 WHICH THE BEST LITERATURE OF THE COUNTRY WAS 
 AFTERWARDS PRODUCED. 
 
 FROM ABOUT 1155 TO ABOUT 1555.
 
 EPOCH FIRST. 
 
 FIRST DIVISION. 
 
 1. THAT PORTION OF THE LITERATURE OF THE FIRST 
 EPOCH, WHICH WAS ESSENTIALLY UNTOUCHED BY THE IN- 
 FLUENCE OF ANY FOREIGN LITERATURE. 
 
 2. INTRODUCTORY REMARKS. Singularity of the circum- 
 stance, that the Spanish Language and Literature first ap- 
 peared in times of great violence, confusion, and national 
 suffering. A. D. 712-14, occupation of Spain by the 
 Moors, Mariana, Hist, de Espana, 1780. fol. I. 359-63. 
 Spanish character and people preserved in the mountains 
 of Biscay and the Asturias. Begin early to recover pos- 
 session of the country. A. D. 801, advanced as far as 
 Castille, which receives its name from their castles, J. v. 
 Miiller in Herder's Lit. Werke, III. xi. A. D. 914, advanc- 
 ed as far as the Guadarrama, Hallam's Middle Ages, Lon- 
 don, 8vo. II. 4. A. D. 1085, possess Toledo, the ancient 
 capital of the monarchy, Mariana I. 533. A. D. 1118, 
 possess Zaragoza, Mariana I. 580. Moorish power thus 
 far rather concentrated than broken. Dreadful contest for 
 a century, in the midst of which, or between the capture of 
 Zaragoza in 1118 and the Battle of Navas de Tolosa in 
 1212, when the Moorish power in Spain received its first 
 serious shock (Mariana I. 672J we find the earliest traces of 
 the Spanish Language and Poetry. Oldest document with
 
 an authenticated date in the Spanish language, Jan. 1155. 
 Memorias de la Academia Real de Historia. Tom. IV. En- 
 sayo de Marina, p. 33. 
 
 3. The most prominent remains of Spanish Literature from 
 1150 to 1350. 
 
 4. POEM A DEL CID, written about 1150 MSS. of it 
 purporting to be a copy dated 1207 earliest tendency to 
 an epic in modern Europe author unknown notice of 
 of the Cid, b. 1026, died 1099. J. v. Muller in Herder's 
 Lit. Werke III, xviii, Iviii. Cronica del Cid, c. 19. His 
 poem, a fragment of 3744 lines. Abstract of it. Its char- 
 acter. Singular versification. Soutbey's chronicle of 
 the Cid, 4to. 1808. Appendix. Review of it by Sir 
 W. Scott. Quarterly Rev. I. 123. The whole poem with 
 notes, 4-c. in Sanchez, Coleccion de Poesias Anteriores 
 al Siglo xv. 4 Svo. 1779-1790. Tom. I. 231-373. 
 
 5. POEMA DE Jose. Written before 1200. King's Library 
 Madrid MSS. G. g. 101. 4to. 49 leaves. Versification 
 like that of the Cid, but the manuscript is in the Arabic 
 character. Many Spaniards of that age had more Moor- 
 ish than Christian learning, Aldrete Origenes de la Leng. 
 Castellana I. c. 22. Story of the Poem, that of Joseph 
 as related in the Goran. Fragment. Author unknown. 
 Remarkable character. 
 
 6. GONZALO DE BERCEO ; oldest author whose name has 
 come down to us. b. about 1198. fl. 1220-1246; died 
 about 1268. Lived at the monastery of St. Milan in 
 Calahorra all his poetry monkish wrote Life of St. 
 Domingo de Silos Life of St. Milan &c. but his principal 
 Poem was on the Miracles of the Virgin, 3644 lines.
 
 * 
 
 None of the chivalrous spirit of the preceding poetry. 
 Sanchez Poesias &c. Tom. II. passim. 
 
 7. ALFONSO X, king of Castille and Leon, b. 1221 succeed- 
 ed to the Throne 1252 his knowledge his calamities 
 a letter he wrote in 1280, Partidas. Ed. de la Acad. I. 
 xvii. note, his poetry &z;c. N. Antonio, Bibliotheca Ve- 
 tus 1787-8. Folio II. 78, sqq. Sanchez Colleccion I. 
 148-170. Sarmiento Obras Posthumas 1775 4to. i. 268 
 -301. Mondejar Vida de Alonso. Folio 1777. p. 457, 
 sqq. 
 
 His chief work LAS SIETE PARTIDAS, Edicion de la 
 Academia 3. 4to. 1807. Written 1256-1263 intended 
 as a full code of laws for the Monarchy ; but enters into 
 the reasons on which they are founded, and therefore 
 contains ethicks, notices of manners, opinions, &tc. Its 
 character. Alfonso dies 1282. Cf. Mariana I. 760-821. 
 Mondejar Vida de Alonso. folio, Madrid 1777. 
 
 8. JUAN LORENZO fl. middle of the xiiu cent. A priest 
 wrote in the verse of the Cid and Jose a life of Alex- 
 ander crude introduction of antiquity its character 
 Sanchez, Coleccion &tc. Tom. III. 
 
 9. DON JUAN MANUEL, grandson of St. Ferdinand and 
 nephew of Alphonso X. b. 1280 in 1320 joint regent 
 of Spain. Cronica del Rey Alonso XI. 1551. c. 19 
 -21 has no place when his regency ends, ib. c. 46. 
 Opposes the king is reconciled to him, ib. c. 47 com- 
 mands against the Moors gains the great battle of Guad- 
 alahorra 1327 Mariana i. 910,-treachery of the king to his 
 uncle the same year quits the royal service in disgust 
 rebels against the king subdued in 1335. Mariana II. 9. 
 Cronica de Alonso XI. c. 178 reconciled to' the king
 
 6 
 
 great power and splendid victories, dies 1347. Argote de 
 Molina, Sucesion de los Manueles, Pref. al Conde Lu- 
 canor. 
 
 His works numerous cf. Don Quixote Ed. de Pelli- 
 cer II. 284 n. Nic. Antonio Bib. Vet. H. 166. Mondejar 
 Vida de Alonso, p. 464. Sanchez Coleccion IV. xi. 
 Cancionero General 1573, contains his poetry at folios 
 175, 207, 227, 267. 
 
 The only work remaining that is of much consequence 
 is EL CONDE LUCANOR, Sevilla 1575. 4to. Forty nine 
 moral tales resemblance to the Arabian nights their 
 fable and character. Mondejar Vida etc. 462. The first 
 attempt to write Spanish prose with ease and elegance. 
 
 10. JUAN Ruiz, Arcipreste de Hita writes monkish poetry 
 like that of Berceo fl. 1343 died about 1351 his meas- 
 ures various we have 6 or 7000 verses still left their 
 character Sanchez Coleccion, Tom. IV. 
 
 11. General Remarks on this literature from 1150 to 1350 
 chiefly belongs to the clergy and the court. 
 
 . 12. But there were, besides this, more popular forms of 
 literature in the Peninsula, which began during these two 
 centuries, and extended below them, viz. Ballads, Chron- 
 icles, Romances of Chivalry, and the Drama. 
 
 13. I. BALLADS not originally committed to writing and 
 their authors not known hence the difficulty of tracing 
 their history. 
 
 14. Origin Moorish Retrospective, Rev. IV. 31-35. Dep- 
 
 ping's Sammlung &c. 1817. 12mo. p. xlv. Many of 
 the Spanish Ballads translations from Moorish Ballads, 
 Hita, Guerras de Granada 12rao. '1757. I. 87, sqq.
 
 Spanish ballads probably as old as any Spanish poetry 
 Atgote de Molina Discurso &c. Conde Lucanor, fol. 
 93. a. 
 
 Ballad of Alfonso the Wise, circa 1280. Cantos de 
 Fuentes. 12mo. 1587. Epistola. 
 
 Ballad of Don Juan Manuel, Cancionero General 1573 
 8vo. fol. 207 b. written before 1347, and probably 
 about 1300. 
 
 Ballad of Alfonso XI, on the battle of Salado, which 
 happened 1340, Mariana II. 22. Sarmiento Obras 
 p. 305. Written between 1340 and 1350. San- 
 chez Colleccion i. 176. 
 
 Ballad of Rabbi Don Santob, King's Library, Madrid, 
 MSS. Folios B. b. 82. ff. 61-81 written circa 1350, 
 Castro Bibliotheca Rabbinica Folio 1781-86. I. 
 198-202. Sanchez Collec. I. 179184. IV xii. 
 
 Ballad of Lope de Estuniga, who died 1417, Guzman, 
 Generaciones y Semblanzas, 4to 1775. p. 223-5. 
 Cancionero General, fol. 1535. f. 42. a. 
 
 Ballads of Diego de San Pedro, and Sanchez de Bad- 
 ajoz before 1457. Nic. Ant. I. Bib. Vet. 248-9 
 Cancionero Gen. 1535. fol. 109. Cancionero Gen. 
 1573. fol. 210. 
 
 Ballads of the Wars of Granada, Hita I. passim. 
 
 Ballads from the capture of Granada 1492 to our times, 
 in a regular series determined by their authors, 
 Enzina, Naharro, Montemayor, Padilla, &c. 
 
 The vast mass of Spanish ballads, however, consists of 
 ANONYMOUS BALLADS, and was gradually taken from 
 the memories of the lower orders. They first appear
 
 as a department in the Cancioneros Generates of 
 Castillo, successively printed and enlarged from 1511 
 to 1573 in repeated editions. The first separate 
 collection of Ballads was printed 1551. Nic. Anto- 
 nio, Bib. Nov. II. 10. Ballad Book in nine parts, 
 containing many hundred, printed 1594-1597, in 
 five small volumes. The Romancero General ix 
 partes 1604 &c. 1. 4to. Idem. xiii. partes. 1614, 1. 
 4to. In all these, the ballads are anonymous, thrown 
 together without order, and amount to above a thous- 
 and. From these were selected Romancero del Cid, 
 1612, Romancero de los Doce Pares 1608, &c. 
 &c. and all the little collections of Ballads that have 
 always been so common in Spain, and that still are 
 read and enjoyed by the lower classes. This mass 
 of Spanish ballads may be divided into 
 
 16. A. Historical Ballads, which is the largest division. 
 
 a. Ballads on the Cid, (Romancero del Cid. 1. 
 12mo. Pamplona 1706, contains 102. Madrid, 
 1. 12mo. 18 18,) form together his entire History. 
 cf. Herder's Litt. Werke, HI. Band. 
 
 b. Ballads on Bernardo del Carpio cf. Coronica 
 General de Espana fol. 1541. 225, sqq. To 
 be found in the Romanceros Generales. 
 
 c. Ballads on the Infantes de Lara. cf. Coronica 
 General de Espana 1541 fol. 261 sqq Dep- 
 ping's Sammlung 41, sqq. 
 
 d. Ballads on the Wars of Granada. Hita, 
 Guerras civiles passim. Great number of them. 
 Their effect very remarkable on the fallen 
 Moors.
 
 e. Ballads drawn from Scripture stories, Cantos 
 cte Fuentes, 1-90 from the fabulous History of 
 Greece, Romancero General, 1604, ff. 309, 520 
 from the account of the Paladins, Romance- 
 ro de los Doce Pares, 1608 from the accounts 
 of Roderick the Goth, Silva de Romances, Vi- 
 ena 1815, p. 286-298, &c. &c. 
 
 ^17. B. Moorish Ballads, or ballads founded on Moor- 
 ish manners. Hita, Guerras Civiles de Grana- 
 da, passim. Fernandez Coleccion de Poesias 
 Castellanas, xvi. 94-198. 
 
 ^18. C. Miscellaneous Ballads strong expressions of 
 the popular character and feelings. Romancero 
 General 1604, passim. 
 
 v} 19. Beauty of the Spanish Ballads, in general a part of the 
 national character and filled with the poetical spirit of 
 the times and country that produced them. 
 
 ^ 20. II. CHRONICLES the amusement of a class of society 
 above that, which produced the ballads ; they succeeded 
 such poetical legends and narratives as those of the Cid, 
 Berceo, &c. 
 
 1. Chronica del Famoso Cavallero, Cid Ruy Diez 
 Campeador, Burgos 1593. 1 fol. Southey's Chronicle 
 of the Cid, Lond. 1808. 1. 4to. Written about the 
 middle of the xiiith century. Its history and charac- 
 ter author unknown. 
 
 2. Cronica de Espana 1541, 1 fol. black letter. Written 
 by Alfonso the wise, who died 1284, as far as to the 
 death of his father, in the fourth part, Mondejar Vida 
 
 2
 
 10 
 
 tie AJonso, 402-470. Castro Bib. Rabbinica II. 656, 
 sqq. Its great value and beauty. Extends from the 
 earliest times to 1252. 
 
 3. Cronica de Alonso el Sabio, Sancho el bravo, y Fer- 
 nando IV. author uncertain, but written about 1320. 
 Mondejar 570-574. Extends from 1252 to 1312. 
 II. Antonio, Bibliotheca Vetus. 173, note 1. 
 
 4. Cronica del Rey D. Alonso el XI, Valladolid 1541. 
 folio, black letter. Written 1376. Grave and digni- 
 fied character. Extends from 1312 to 1350. Written 
 
 by the chancellor of the kingdom, Juan Nunez de Vil- 
 laizan. 
 
 5. Cronica de Casnlla, Edicion de la Academia 2. 4to. 
 1779-1780. Extends from 1350 to 1404. Its author 
 Pedro Lopez de Ayala, minister of State b. 133,2. 
 his marked character Sanchez, Coleccion, &c. i. 106, 
 sqq. Guzman, Generaciones y Semblanzas c. 7. 
 Chronica de Pedro, p. xxvi. Sarmiento 323. taken 
 prisoner and carried to England 1367. Mariana II. 
 107. his great power in the state dies 1407. His 
 knowledge of foreign literature translates Livy &,c. 
 Sanchez I. 107. Character of his chronicle approach- 
 es somewhat to that of regular history. 
 
 6. Cronica de D. Juan el Segundo Sic. Logrono 1517. 
 1 fol. black letter. Extends from 1404 to 1450. 
 Written by different persons, Alvar Garcia de Sta. 
 Maria, Perez de Guzman, and another person, who is 
 unknown composed 1460. Grave, natural, castillian 
 style. Last of the chronicles, strictly so called. 
 
 7. Romantic chronicle of Roderick, which does not 
 pretend to adhere to the truth. Cronica del Rey Don
 
 11 
 
 Rodrigo, Toledo 1549. 1. fol. black letter. Written 
 about 1440. Its singular character. 
 
 8. Chronicles of particular events or persons. 
 Historia del Gran Tamorlan, Ed. de la Acad. 1782. 
 1. 4to. Embassy of Ruy Gonzalez de Clavijo 1403-4. 
 
 Libro del Passo Honroso, Ed. de la Acad. 1783. 1 4to 
 A famous Tournament in 1434. Cron. de Juan II. 
 ff. 133-4. 
 
 Seguro de Tordesillas, Life of Count Haro. 1446. Ed. 
 de la Acad. 1784. 1. 4to. 
 
 Cronica de Don Pedro Nino, by Gutierre Diez de 
 Gamez, 1450. Ed. de la Acad. 1782. 1. 4to. 
 
 Cronica de D. Alvaro de Luna, about 1460. Ed. de 
 la Acad. 1784, 1. 4to. 
 
 Great richness and beauty of the Spanish chronicles, as a 
 body. Sarmiento p. 325. Santander Catalogue &c. 
 III. 161. 
 
 21. III. ROMANCES OF CHIVALRY, of French origin 
 Oldest and best Spanish Romance translated from the 
 
 Portuguese Amadis de Gaula, in four books first 
 edition before 1490. D. Quixote Ed. de Pellicer, I. 
 p. 1. Its author, Vasco de Lobeira, wrote it about 
 1383. Amadis of Gaul, by R. Southey 1803. 1. Preface, 
 Barbosa Bibliotheca Lusit. III. 725. Its character. 
 
 22. The success of Amadis brought out Esplandian his 
 
 son before 1510 by Montalro, (D. Quixote Ed. Pe- 
 licer I. 51, note) which was called the fifth book of 
 Amadis this produced in 1510, book sixth or Flo- 
 risando, grandson to Amadis (Nic. Antonio II. Bib. 
 Nov. 395) then 1525, Cronica de Lisuarte de Gre-
 
 12 
 
 cia, son of Esplandian, as the vii and viii books (Dun- 
 lop's Hist, of Fiction II. 24) in 1535 Amadis de 
 Grecia, son of Lisuarte as book ix, (Dunlop II. 27.) 
 and so on, with different heroes, to book xiii. (Dunlop 
 II. 34. 38. 45.) but all dull and full of absurdities and 
 ignorance of chronology and manners. 
 
 23. Other Romances of Chivalry Don Belianis de Gre- 
 cia (Don Quixote de Avellaneda, 1805. 2. 12mo. pas- 
 sim) Don Olivante de Laura, Felixmarte de Hyrca- 
 nia, and Tirante el Blanco. 
 
 {^ 24. Romances on Palmerin Palmerin deOliva Primaleon 
 Platir and Palmerin de Inglaterra. 
 
 ^ 25. General character of Spanish Romances of Chivalry. 
 
 ^ 26. IV. THEATRE originally came to Spain from France, 
 where it arose from the dramatic exhibitions of their 
 Pilgrims and Crusaders, who returned from Palestine. 
 Small number of Spaniards, who went on the crusades 
 did not induce such exhibitions in Spain, Heeren's 
 Kleine Schriften, III. 44, sqq. Memorias de le Acad- 
 cmia real V. 35, sqq. Their domestic and national en- 
 tertainments, too, were for a long time a substitute for 
 theatrical exhibitions. Romancero Gen. 1604. 24 b. 
 Jovellanos memorias sobre las diversiones publicas, 8vo. 
 1812. p. 15, sqq. 
 
 vj 27. FIRST TRACE OF SCENIC EXHIBITIONS in Spain 1256 
 -1263. Partidas de Alonso, Ed. de la Acad. I. 276-7. 
 III. 556. but these were pantomimic. 
 
 o 28. FIRST WRITTEN DIALOGUE of which we hear, is the 
 Comedieta de Ponza represented between 1435 and 
 1454, the work of the Marquis de Santillana, San-
 
 13 
 
 chez Coleccion I. xxxix. Cronica de D. Juan II. 
 cap. 261. King's Library, Madrid MSS. fol. M. No. 
 59. Garcilasso de la Vega, Edicion de Herrera, p. 541. 
 
 29. MINGO REVULGO, written about 1472. Coplas de Min- 
 
 go Revulgo glosadas por Hernando del Pulgar 1. 
 12mo. 1588. Velazquez Origines de la Poesia Espaii- 
 ola, 1754, 4to. p. 52. Its character as a satirical ec- 
 logue. Author unknown Coplas de Manrique 1636, 
 p. 147, I. Nic. Antonio Bib. Nov. 387. Mariana II. 
 475. Sarraiento ^ 872. 
 
 30. CALISTO Y MELIBEA, Tragicomedia, (generally called 
 
 LA CELESTINA) Alcala, 12mo. 1586. Written between 
 1470 and 1480. The first act probably by Rodrigo 
 Cota. D. Quixote Edicion de Pellicer I. ccxxxix. 
 Velazquez, Diezen's Ausgabe p. 306. The remain- 
 der written by Fernando de Roxas. cf. Prologo. It is, 
 in fact, a kind of Romance in dialogue, in prose, and in 
 twenty one acts or parts. First edit. 101. Velaz- 
 quez, Dieze, p. 306. Its great merit translated into 
 French and Italian, and reprinted many times, Lam- 
 pillas Apologia de la Literalura Espanola, 1789, 8vo. 
 VI. 53-56. Goujet, Bibliotheque Franchise, VIII. 
 163, sqq. Cota's singular dialogue between love and an 
 old man, Coplas de Manrique 1588. ff. 208-222. 
 
 31. JUAN DE LA ENZINA b. 1468. Chief musician in the 
 
 chapel of Pope Leo X. 1519 made a pilgrimage to 
 Jerusalem 1521 published a poetical account of it 
 returned to Spain died at Salamanca 1534. Cf. his 
 epitaph, and II. Nic. Ant. Bib. Nov. 684. His eclogues, 
 partly in the manner of the ancient mysteries, and 
 partly in that of Mingo Revulgo, were all represented
 
 14 
 
 as dramas. Cancionero de las obras de Juan de la 
 Encina, Salamanca 1496, black letter. First edition, 
 Mendez, Typografia Espanola 1786 p. 247. His 
 Farce of Placiday Victorian, which was much esteem- 
 ed, is lost. Dialogo de las Lenguas, Mayans y Siscar, 
 Origenes &c. 1737. II. 149. By these pieces, Euzina 
 made almost an epoch in the early Spanish theatre, 
 about 1492. Rojas, Viage Entretenido 12mo. 1614. 
 f. 46. 
 
 32. BARTOLOMC TORRES DE NAHARRO born in Estrema- 
 
 dura lived at Rome exiled fled to Naples died 
 soon after 1500. Nic. Antonio, I. Bib. Nov. 202 
 Velazquez, Dieze p. 321. His PROPALADIA 1. 4to. Se- 
 villa 1533, (first printed 1517,) contains eight dramat- 
 ic pieces longer than had yet been prepared for the 
 stage the first called Comedias all in verse repre- 
 sented at Rome and Naples great rudeness yet they 
 contain some of the marked features of the future 
 Spanish drama. 
 
 33. LITTLE PROGRESS OF THE SPANISH DRAMA up to 
 about 1530 confined to the higher classes in its 
 better forms and little noticed. 
 
 34. LOPE DE RUEDA, the first who wrote for the lower 
 
 classes with spirit and success born at Seville, by 
 trade a gold beater turns play-actor Cervantes, 
 when a boy, admired him (Comedias de Cervantes, 
 Prologo 4to. 1749.) died about 1567 buried with 
 great honours. Wrote four comedias, three coloquios, 
 and ten pasos, which are printed. Comedias y Colo- 
 quios, Sevilla, 1. 12mo. 1576, El Deleytoso, Valencia,
 
 15 
 
 V 4to. 1577. All different kinds of popular farces. 
 They have much merit. 
 
 35. ALONSO DE LA VEGA, JUAN DE TIMONEDA* and JUAN DE 
 
 LACUEVA, imitated him successfully between 1566 and 
 1581. Origen y Progeso de la Comedia Sec. por C. 
 Pellicer, 12mo. 1804. I. 111. II. 18, sqq. 
 
 36. ANCIENT THEATRE IMITATED and translated. Amphy- 
 
 trion of Plautus by nilalobos about 1500, Proble- 
 mas &c. de Villalobos 1544. 1 fol. black letter. The 
 same play and the Electra of Sophocles, and the Hecu- 
 ba of Euripides by Perez de Oliva, about 1530, 
 Obras 1787. 2. 12mo. In 1577 Geronimo Bermudez 
 * rote two imitations of the ancient tragedies (Sedano 
 i arnaso Espanol Tom. VI.) and Lupercio Leonardo 
 Jlrgensola wrote three more in 1585 (ib. Tom. VI.) 
 which were, for a time, much admired ; (Don Quix- 
 ote Parte I. c. 48.) but the imitations of the ancient 
 theatre produced no lasting effect. 
 
 37. From this account of the theatre beginning with its 
 
 earliest appearance, three circumstances are apparent; 
 
 1. Little effort had been made. 
 
 2. The apparatus for theatrical representation was 
 unequal to the exhibition of tolerable dramas. 
 
 1492. Enzina's Eclogues. 
 
 1550 circa, Lope de Rueda no apparatus at 
 all. 
 
 1568. Plays represented at Madrid in an open 
 court, without scenery, decorations or dresses, 
 (Pellicer Origen &c. 1804. I. 50. 53. 62) and 
 only by strolling players. But they produc- 
 ed never above ten dollar?.
 
 10 
 
 1579-83, improved, but still ridiculously mean- 
 Cervantes, Prologo a las comedias. 
 1586, not better than mountebank stages are 
 
 now. 
 3. The pieces had no common character whereon 
 
 to found a national drama. 
 
 All, however, in Spain, showed at this time, a tendency 
 to the establishment of a national theatre. 
 
 38. CONCLUDING REMARKS on the original Spanish litera- 
 ture, which is untouched by any foreign influence, down to 
 the end of the reign of Charles V. 
 
 SECOND DIVISION. 
 
 39. TWO SCHOOLS OF LITERATURE MARKED WITH FOREIGN 
 INFLUENCES EXISTED DURING THIS EPOCH, VIZ. THE PRO- 
 VENCAL, AND THE ITALIAN. 
 
 I. PROVEN9AL. 
 
 40. INTRODUCTORY REMARKS. Provence separate, a govern- 
 ment from 879 (art de Verifier les dates X.) its peaceful 
 condition for two centuries 1113 crown of Provence 
 passes to Barcelona (ib. p. 399) 1137 Barcelona united 
 to Arragon (Eichhorn's Cultur Geschichte I. 120) 1220 
 to 1238 adds Majorca, Minorca, and Valencia and thus 
 the Provencal refinement has an opportunity to spread 
 through all these countries. 
 
 o 
 
 41. PROVENCAL LANGUAGE in Catalonia modified by the 
 different habits of the people. Du Cange, Gloss. Mediae 
 et Inf. Latinitatis, Pracf. ^ 34, 35, 36.
 
 17 
 
 42. ALFONSO II. 1162-1196, son of the first prince, who 
 wore both the crown of Prbvenqe and that of Barcelona, 
 is a Provencal poet. Latassa, Bib. antigua de Aragon 
 I. 175-179. Crescimbeni, II. 186. His capital was 
 Zaragoza. 
 
 43. PETER III. 1196-1213, his son, was a poet encour- 
 aged the Troubadours Latassa ib. I. 185-189. Qua- 
 drio Storia 4to. 1743. II. 114. Many fled to his protec- 
 tion from the war of the Albigenses, Llorente Histoire de 
 PInquisition, 1818. 8vo. I. 43 sqq. Peter died fighting 
 for them, Sanchez, Coleccion &c. I. 79. 
 
 44. NAT DE MOROS and MATTHIEU DE Q.UKRCI 1213-1276 
 James I. Millot Hist, des Troubadours, 12mo. II. 194. 
 262. HI. 316. Sanchez coleccion I. 79. 
 
 45. MOSSEN JORDI DE SAN joRDi 1250 Ximeno, Escrito- 
 res de Valencia, folio 1747-1749. I. 1-3. Retrospec- 
 tive Review, IV. 46-7. 
 
 46. MOSSEN FEBRER THE UNKNOWN AUTHOR OF THE BRE- 
 VIAR D'AMOR PETER III. 1276-1285 AND OTHERS. Nic. 
 Antonio II. Bib. Vet. 102. Latassa I. 242-247. Nic. 
 Ant. ib. 105 note. 141 note. 145 note. 153 note. 
 
 47. SOBREGAYA COMPANHIA DELS SEPT TROBADORS DE TO- 
 
 LOSA founded 1323-4. (Sismondi Litt.du Midi. 8vo. 1813. 
 I. 227 sqq.) 1355 establish statutes &c. (Sanchez Col- 
 eccion I. 7.) Their neighbourhood to Aragon and Cat- 
 alonia effects. 
 
 48. INFANTE DON PEDRO, who died 1380, a poet, and fa- 
 vourer of poetry, II. Latassa 9, 
 
 3
 
 18 
 
 49. JUAN MART-OREL before 1383 Romance of Tirante lo 
 Branch Xiraeno, I. 12. Mendez, Typog. p. 72. Don 
 Quixote, Ed. de Pellicer I. 62. 
 
 50. RAYMON MONTANER chronicle II, N. Antonio Vet. 
 144. Velazquez, Dieze p. 53. n. i. 
 
 > 51. JOHN I. 1387. Refinement II. Mariana 182, sqq 
 1388, Embassy to France founds the CONSISTORY OF 
 PROVENCAL POETS AT BARCELONA 1390, increased 1395 
 Marquis de Villena, 1412, raises it to its highest 
 splendour gradually disappears about 1480. Mayans 
 Origenes &c. 1737 II. 323-327. 
 
 52. GREATEST SUCCESS OF PROVENCAL POETRY IN SPAIN, 
 about 1400. Zurita's account of schools for it, $-c. San- 
 chez Coleccion I. 9. 10. 
 
 53. ENRIQUE MARQUES DE VILLENA its great patron-b. 1384. 
 passion for letters rank master of the order of Cala- 
 trava 1414 displaced died 1434. Generaciones y 
 Semblanzas c. xxviii. p. 255. Velazquez, Dieze 153- 
 155. Wrote the Gay a Sciencia, Mayans, Origenes, II. 
 320 translated Dante 1427-8, Virgil, Cicero, &c. 
 Velazquez 147-149. Trabajos de Hercules, Mendez p. 
 266 suspected of magick, Feyjoo, Teatro Critico Tom., 
 vi. and his books burnt, Cibdareal, carta 66. p. 111. 
 
 ^ 54. MACIAS EL ENAMORADO Esquire to Villena his trag- 
 ical fate his poetry, Castro, Bib. Rabbinica I. 312. 
 Cancionero de Estuniga, King's Library, MSS. Fol. M. 
 48. folio 82. Sanchez, Coleccion I. 138 sqq. Cancio- 
 nero General 1535. fol. 67. b. 161. b. Juan de Mena, 
 Obras 1566. 99. b. Gongora, Obras 1654. 113. b.
 
 19 
 
 55. AUSIAS MARCH, Lord of Beniarjo fl. 1416-1458, died 
 1462-1467. Diana Enamorada de Polo, 1802. 12mo. 
 486. 293. Best of the Catalonian-Proven<jal poets 
 Les Obres del f^aleros Cavalier y elegantissim Poeta, 
 Jlusias March, 1. 12mo. 1560. His tenderness trans- 
 lations into Latin, Italian and Castillian, Velazquez Dieze, 
 54. Diana, ib. 290. 303. 
 
 56. JAUMK note b. 1427. Lo Libre de les Dones fyc. por 
 Mossen Jaume Roig, 1. 4to. 1735, p. 187. col. a. con- 
 tended for a poetical prize in Barcelona 1474. ('Diana 
 Enam. 1802. p. 302.; died 1478, (ib. p. 300.; His 
 satire on women its fine measure, (Mayans, Origenes 
 1737. I. 57.J written in 1460, cf. p. 187. Best of the 
 Provencal satirists in Spain. 
 
 57. DECLINE OF PROVENCAL LITERATURE IN SPAIN causes 
 of it overcome by the influences of the northern litera- 
 ture Villena who died 1434 wrote both in castillian and 
 proven^al (Velazquez, 147-8. Mendez, 266.; In 1474 poet- 
 ical meeting and contest at Barcelona; and four Castillian 
 poems offered (Mendez 56-57.; Bernardo Fenollar, Sec- 
 retary of this meeting, wrote in both dialects. (Diana E- 
 nam. 1802. p. 317. Cancionero Gen. 1573. fol. 240. 251. 
 307.; Narcis Vinyoles, fl. 1492, wrote in both (Dia- 
 na Enam. 1802. p. 304. Cancion. Gen. 1573. fol. 241. 
 251. 316-18.; Crespi, fl, 1500 wrote in both, (Diana 
 En. 1802. p. 306. Cancion. Gen. 1573. fol. 238. 248. 
 300. 301.; Fernandez de Heredia, died 1549, wrote 
 almost entirely in Castillian and others from 1500 to 
 1520, (Ximeno I. 102. Diana En. 1802. p. 326. Can- 
 cion. Gen. 1573. 182. 185. 222. 225. 228. 230. 305-7.; 
 Crowns of Aragon and Castille united 1479 made the
 
 20 
 
 Castillian the court language, and from that tirnc the Pro- 
 venc,al gradually disappeared. Still there is a popular 
 Catalonian literature. Fischer's Travels, Lond. 1802. 
 8vo. p. 371. La Bordc Voyage d'Espagne 1809. 8vo. I. 
 136. Melancholy feeling at the premature decay of such 
 a language and literature. 
 
 II. ITALIAN SCHOOL. 
 
 58. A SCHOOL CHIEFLY FORMED OF CONCEITED POETRY, IMITAT- 
 ED, GENERALLT, FROM THE WORST POETRY OK THE AGE FOL- 
 LOWING THAT OF PETRARCA AND BOCCACCIO. 
 
 ^ 59. INTRODUCTORY REMARKS. Early intercourse between 
 Spain and Italy and its causes Sicilian Family on the 
 Throne of Aragon 1387, (Art. de Verifier. 8vo. VI. 
 534-5.J Naples united to Aragon 1420-1435. ("Mariana 11. 
 285 sqq.J State of Italian literature. Appearance of Italian 
 influences in Spanish literature. Ayala translates a treatise 
 of Boccaccio before 1407 (Generaciones y Semblanzas c. 
 7. p. 223. Sanchez, Coleccion I. 101.) Villena trans- 
 lates Dante 1427-8 (cf. 53.J Santillana, a learned Italian 
 scholar, who died 1458, (Cancion. Gen. 1573. fol. 76. b.J 
 has great influence. 
 
 ^ 60. JOHN II. of Castille, his reign 1407-1454 important 
 his weak character, Mariana II. 236-407. Generacio- 
 nes y Semblanzas c. 33. p. 270 amuses himself with 
 poetry and encourages letters. II. Mariana 283. 359. 
 John Alfonso de Baena, his secretary, makes a collec- 
 tion of poetry for him between 1449 and 1454, which 
 is still extant Castro, Bib. Rabbinica I. 265-346. 
 John de Mena was his chronicler fCenton Epistolario, Ep.
 
 21 
 
 47. 49 kc.) King corrects Mena's verses,-fib. Ep. 20. 56. 
 76.; was amiable, fib. Ep. 105.) Fashionable among 
 the nobles of his court to write verses. His own, Obras 
 de Mena, 12mo. 1805. p. 195. 
 
 61. INCREASED INFLUENCE OF ITALY many Spaniards 
 study there some become professors in the Italian 
 Universities N. Antonio Bib. Vet. II. 169-70. Ti- 
 raboschi, Storia della Lett. Ital. 4to. 1782. V. 54. 58. 
 
 62. LOPE DE MENDOZA, MARQ.UES DE SANTILLANA, fil'St 
 
 direct imitator of Italian poetry, b. 1398. (Sanchez 
 Coleccion I. i-xlvii.j connected with Villena (Cancion. 
 Gen. 1573. fol. 34J his bold, martial character (Clares 
 Varones, Titulo 4) and career died 1458 his great 
 reputation during his life. (Obras de Mena 1566. p. 260.; 
 Union of Literature with this busy life (Proverbios 1532. 
 12mo. fol. 150. bj his studies (Glares Varones p. 31- 
 32.J His works, MSS. King's Library Madrid M. 59. 
 folio. His Serranas 1428, (in Sanchez Colec. I. vi. xliii.; 
 genuinely Spanish and beautiful. His proverbs for 
 Prince Henry (cf. Proverbios fol. 151-2.J Dialogue 
 between Bias and Fortune 1448, (Sanchez Coleccion I. 
 xlij Religious pieces (Can. Gen, 1573. fol. 24. 27 etc.) 
 His remarkable Letter on Spanish poetry written between 
 1454 and 1458 (Sanchez Coleccion I, xlviii-lxii.J 
 His sonnets, the oldest in the language, (ib. xx. xxi. xl. 
 Garcilasso, Ed. de Herrera p. 75. Argote de Molina in 
 the Conde Lucanor 97. a.j were some of them written, 
 at Seville 1455. Poem on the death of Villena (Can. 
 Gen. 1573. fol. 34-37.; Poem in honour of Jordi, the- 
 Valencian poet (Faber, Floresta 1820. 8vo. No. 87. p, 
 135; in which ho imitates Dante, Purgatorio, xxviii.
 
 22 
 
 xxi\. Death of Alvaro de Luna 155J, (Mariana II. 400. 
 403,) and Santillana's Poem on it (Cancionero General 
 1573. fol. 37, sqq.; remarkable. Other works (Mayans 
 Origenes II. 179-210. Cantos de Fuentes fol. 234. 
 Castro Bib. Rab. I. 345.; His character as a poet. 
 
 G3. JUAN DE MEN A, b. Cordoba, probably 1390-1400. 
 Studied at Rome senator of his native city as early 
 as 1428, intimate with John II 1429 his Latin Secretary 
 and Historiographer (Cibdareal Ep. 20.J King desires to 
 be praised by him. (ib. Ep. 48. 49J He labours on his 
 chronicle from 1429 to 1452 (ib. Ep. 23, and Chronica 
 de D. Alvaro, Ed. de la Acad. 4to. Tit. xcv. p. 250; 
 but never published it. He wrote laureat verses 1445, 
 1449, &c. (Castro, Bib. Rab. I. 331.; died 1456. (Obras, 
 1804, 12mo, nota previa.; His epitaph and monument 
 by the Marquis de Santillana. (Ponz, Viage de Espafia 
 x. 38.) 
 
 His worlts were in favour from their first appearance, 
 and yet he has never been absolutely popular. Notices 
 of his poems to his mistress, (Cancionero Gen. 1573. 
 4452.; his allegory of the seven deadly sins (Obras, 
 1804. 12mo. p. 201-241) and his poem called the coro- 
 nation (Obras, 1566. 12mo. fol. 260-320.; in honor 
 of the Marquis de Santillana. His chief work is, EL LA- 
 BERINTO, commonly called Las trescientas, because it is 
 in 300 coplas or stanzas begun as early as 1428 (Cib- 
 dareal Ep. 20.; Imitation of Dante's Inferno, whom he 
 had much studied (Obras, 1566. fol. 261. b.; and in im- 
 itation of whom, he thought his work a comedy (Dante, 
 de Vulg. Eloquen. Lib. II. c. 4.) Its plan and character. 
 The fine account (copla 160; of Count de Niebla, who 
 perished before Gibraltar in 1436, (Mariana, II. 343.;
 
 23 
 
 The whole poem corrected by John II. (Cibdareal Ep. 
 20. 47. 49. 56.J additional Stanzas (Cancionero Gen. 
 1573. fol. 41.J Spirit of the whole. 
 
 64. RODRIGO MANRIQUE, b. 1416. A distinguished general 
 (Tulgar, Tit. 13. Mariana, II. 510. 517.J created Mar- 
 quis de Paredes. Poem to his mistress (Cancion. Gen. 
 1573, fol. 183.; died 1476. 
 
 65. GOMEZ MANRI^UE, his brother statesman and soldier 
 (Nicolas Antonio, Bib. Vet. II. 342. Pulgar, p. 71.) 
 His poetical letter to the Marquis de Santillana (Cancion. 
 General, 1573, fol. 76.) His allegorical poem on 
 the death of Santillana (ib. 57-67.) Collected his 
 poetry for count Benevente. (Adiciones a Pulgar, p. 223.) 
 Other poems (Can. Gen. 1573. 57-77. 243.) The.ir 
 character. 
 
 66. JORGE MANRIQ.UE, son of Rodrigo character mingled 
 with melancholy and the spirit of military adventure. 
 His poems to ,his mistress, (Cancion. General, 1573. ff. 
 131-139. 176. 187. 189. 221. 243. 244. 245. 381.) His 
 principal poem was on the death of his father (COPLAS 
 DE JORGE MANRIQ.UE, 12mo. 1588.) which happened 
 1476 its character. Killed in a skirmish 1479. (II. 
 Mariana, 531.) Fine old ballad on his death, (Cantos 
 de Fuentes 374378.) 
 
 67. FERNAN GOMEZ DE CIBDAREAL, physician and familiar 
 friend of John II. b. circa 1388 his easy, kind charac- 
 ter correspondence with many of the chief persons of 
 his time, died about 1456. His Centon Epistolario,. 
 
 ^ 4to. 1775. Its character.
 
 24 
 
 68. FERNAN PEREZ DE GUZMAN b. soon after 1400. A 
 man of letters and a soldier connected with Lope de 
 Ayala and the Marquis de Santillana commanded in 
 the battle of Higueruela 1431 time of his death un- 
 known. (Sarmiento, p. 363-366. Sanchez Coleccion 
 1. 209-21 1.) His poetry (Obras de Juan de Mena, 1566. 
 f. 83. Castro Bib. Rab. I. 298. 342. Cancion. Gen. 
 1573. ff. 14. 20. 52. 57) poor. His prose, Coronica de 
 Juan II. fol. 1517. (cf. ante ^ 20, 6.) and Generaciones 
 y Semblanzas, Madrid 1775. 4to. or biographical and 
 personal sketches of the persons about the court, is 
 good. 
 
 69. HERNANDO DEL PULGAR educated at the court of John 
 II. and in power in the next reign (Claros Varones, p. 2.) 
 Secretary to Ferdinand and Isabella^ after 1474; (Letra 
 6, Clar. Var. p. 128) lived till after 1492. His Histo- 
 ry of Granada from 1210 to 1492. Seminario de los 
 Eruditos 4to. xii, 56-144. His Claros Varones 4to. 
 Madrid 1775, formed partly on Guzman, and consists 
 of sketches of characters. His letters, written between 
 1473 and 1483, preserved at the end of the Claros Va- 
 rones. Spirited and simple style of his works. 
 
 70. GREAT NUMBER OF AUTHORS between 1407, or begin- 
 ning of the reign of John II. and the capture of Granada 
 in 1492. They are contained in the CANCIONEROS 
 GENERALES. Origin of these loose collections of poetry. 
 Oldest now known, that of Alfonso de Baena, Secretary 
 to John II made between 1449 and 1454. (Castro Bib. 
 Rabbin. I 265-346) and containing works of fifty five 
 poets. The one called Lope de Estuniga's, made soon 
 after and contains thirty nine poets. (King's Library
 
 25 
 
 Folio. M. 48. ff. 163.) First book printed in Spain, 
 1474, is a collection of poetry, (Mendez, Typog. Esp. 
 p. 56.) In 1492 another, containing works of nine 
 poets, was printed, (Mendez 1 34-1 37.) In 1511, Fernan 
 de Castillo published at Valencia, a much larger col- 
 lection, called the CANCIONERO GENERAL, (Faber Flores- 
 ta Castellana. 8vo. Autores y Fuentes No. 7) a second 
 edition of which was printed as early as 1514, (Depping 
 Sammlung, p. liii.) and which was successively enlarged 
 in editions of 1526. 1535. 1540. and 1557, until, in 1573, 
 (he largest, the last, and most complete edition was printed 
 at Antwerp. The one of 1573 contains all the poetry in 
 fashion in Spain from the beginning of the xv to the 
 beginning of the xvi century. Its clumsiness. It contains 
 works of about one hundred and twenty different persons 
 and poets viz. devotional pieces, ff. 134 ; various 
 poets, as Santillana, Mena, the Manriques, the Guzmans 
 &tc. 34-175 ; canciones, ballads, invenciones, glossas, 
 villancicos, Jkc. 175254 ; another series of writers, 
 Puerto Carrero, Tapia, Quiros &c. 254-361 ; and, 
 finally, at the end, a few of the time of Charles V. ff. 
 361-386. This Cancionero General is, therefore, the 
 great mine of Spanish poetry for the reigns of John II. 
 Henry IV. and Ferdinand and Isabella. Its singular 
 character; 1. Principal authors mentioned in it, (be- 
 sides those we have considered already, like Mena, the 
 Manriques &tc.) are Lope de Estuniga (ff. 77-80. N. 
 Antonio. Bib. Vet. II. 354 ;) Cartagena Bishop of Bur- 
 gos, (ff. 107-121. Cibdareal Ep 24. Vida de Guz- 
 man. Don Quixote, Ed. Pellicer, I. xlvii ;) Garci San- 
 chez de Badajoz (ff. 160-175. Faber, Floresta No. 1 16. 
 N. Antonio, Bib. Vet. II. 248.) &c. &c. ; all of whom 
 4
 
 26 
 
 lived in the middle and latter part of the xvth century. 
 2. The different forms of Poetry in which they wrote, 
 Redondillas (Essai sur la Litterature Espagnole, 8vo. 
 Paris, 1810. p. 40. Renjifo, Arte Poetica, Svo- 1727. 
 p. 30-44 ;) Versos de Arte Mayor (Sarmiento p 192, 
 sqq;) Canciones (Cancionero 1573 contains 156, ff. 175 
 -191 ;) Invenciones (ib. 216-225;) Villancicos (ib, 225 
 -234 ;) Glossas (ib. 221-225 ;) Questiones. (ib. 235- 
 254.) Small value of all this metaphysical and conceit- 
 ed poetry of the xv. century, the taste for which was 
 formed from the bad Italian poets, and the fashion for 
 which prevailed chiefly at court. Curious, however, as 
 indicating the state of society, in which, such a man as th& 
 constable Alvaro de Luna found it necessary to write 
 verses (Obras de Juan de Mena, 1566. f. 248. b.) be- 
 cause they were so fashionable. 
 
 71. CHANGE IN THE CHARACTER of the Spanish imitations 
 of Italian Poetry, in the beginning of the xvi. century 
 causes of the change 1. The intimate connexion be- 
 tween the two countries, begun by the union of Naples 
 to the Spanish crown, in 1501, and continued by the 
 intrigues and campaigns of Charles V, till the death of 
 Francis I, 1547. (Robertson's Charles V. Svo. 1796. 
 I. 129 and Vol. II. passim,) 2. The splendid character 
 of Italian literature in the age of Leo X. 
 
 72 JUAN BOSCAN, b. in Barcelona wrote first in the 
 conceited style at about the age of twenty five, in 1526, 
 became acquainted, at Granada, with Andrea Navagero, 
 Venetian Ambassador, a man of literary taste, (Tirabos- 
 chi VII. iii. 228 230) who incited him to write in imi- 
 tation of the better Italian masters (Obras de Boscan, Svo.
 
 27 
 
 1543. ff. xx.) Much opposition to Boscan. Lived quietly 
 at Barcelona preceptor of the Duke of Alba translated 
 from the Greek translated Castiglione's Cortegiano, El 
 Cortesano, 1. 12mo. Salamanca 1581. His Sonnets, 
 Canzones terza rima and ottava rima, have the stiff 
 appearance of translations. Epistle to Diego de Men- 
 doza, f. 134. sqq. Stanzas on the court of Love (f. 141. 
 sqq.) the longest of his original poems and the best 
 he might have done more than he did to raise Spanish 
 poetry. Died before 1543. 
 
 73. GARCILASSO DE LA VEGA friend of Boscan their 
 works first published together in 1543. Noble ancestry 
 (Hita, Guerras civiles de Granada I. 515 520) His 
 father, ambassador at Rome. Born at Toledo 1503, 
 (Obras fyc. por Fern, de Herrera 1. 8vo. 1580) sent to 
 court marries enters the army, (Obras p. 14) at the 
 siege of Vienna 1532 imprisoned (ib. 239) writes 
 verses on it (ib. 234) at the siege of Tunis 1535 
 writes an Elegy, in Sicily, on his way home (ib. 347) 
 was in France and at Naples (ib. p. 378) at the siege 
 of Marseilles, 1536 scales a tower near Frejus and is 
 mortally wounded died at Nice, 1536. The Empe- 
 ror's inhuman revenge for his death. 
 
 His works to be dated, 1526 1536 their gentleness and 
 melancholy 37 sonnets 5 canzonets 1 epistle 2 ele- 
 gies and 3 pastorals all imitations of the Italians his 
 first eclogue (Obras p. 385) much the best. His singu- 
 lar rhymes from the Arabs. His death mourned in verse 
 by Bembo and Tansillo, (ib. 18. 19.) His eclogues 
 represented by strolling players long afterwards (Don 
 Quixote, Parte II. c. 38.) His poetical genius.
 
 28 
 
 ^ 74. JUAN DE TIMONEDA imitator of the Italian Prose 
 tales a Valcncian friend and follower of Lope de 
 Rueda was a printer, (Cervantes, Viage al Parnaso, 8vo. 
 p. 116) fl. 1511 to 1576. (Ximeno, Escrit. de Valen- 
 cia, fol. I. 72. N. Antonio, Bib. Nov. I. 787. Diana 
 Eham. de Pclo. 1802 p. 369.) Wrote comedies, pasto- 
 rals Sec. his PATRAIIUELO or Story teller, published 
 1576 contains twenty stories from different sources; 
 from Boccaccio (Patranuelo &c. 12mo. 1759. Patrana 
 ii. p. 10) ; from Apollonius, Prince of Tyre, (Patrana 
 x. p. 103) a Greek rhymed romance printed 1569 
 (Schelhornii Amcenitates Lit. V. 274) ; and from many 
 others. It contains a much older version of the Story of 
 King John and the Abbot of Canterbury (Percy's 
 Reliques, II. 343) in Patrana xiii. p. 177, his easy style 
 and manner. 
 
 <} 75. FRANCISCO DE VILLALOBOS, Physician to Charles 
 V. imitated the Italian didactick prose writers, who 
 now became fashionable models in Spain (Obras de 
 Oliva, Morales, I. xvi. sqq.) Villalobos fl. 1498 1643. 
 (Mendez p. 249. N. Antonio, Bib. Nov. I. 498.) His 
 works Libro intitulado Los Problemas &;c. folio 1544 
 black letter Treatises, Dialogues, &c. in the manner of 
 Castiglione, Bernbo, &c. 
 
 76. FERNAN PEREZ DE OLIVA b. circa 1497, good edu- 
 cation, ( Obras de Oliva, Madrid 1787. 12mo. II. 31-34. 
 52.) studies at Salamanca, Alcala, Paris and Rome. 
 Teaches at Paris at Salamanca, (Obras I. xlv.) Tutor 
 to Philip II dies before 40. His Dialogo de la Dig- 
 nidad del Hombre his other works his preference 
 of the Spanish over the Latin.
 
 29 
 
 ^ 77. FRANCISCO CERVANTES DE SALAZAR died 1546, His 
 continuation of Oliva's Dialogue. Obras de Salazar, 
 1, 4to 1772. Vanega, Prologo a Mexia p. viii, sqq. 
 xix, xxv. 
 
 v) 78. Luis DE MEXIA, fl. 1540 Apologo de la Ociosidad 
 i el Trabajo (inserted in Obras de Salazar.) 
 
 ^ 79. AMBROSIO DE MORALES nephew to Oliva, educated 
 by him imitates him his defence of the Spanish Lan- 
 guage &tc. (Obras de Oliva, I. xvi xlvii. and Vol. II.) 
 
 v} 80. ANTONIO DE GUEVARA Historiographer to Charles V. 
 and Bishop of Mondofiedo was some time in Italy 
 much about the Emperor's person his elegant learning 
 died 1544. (I.Antonio, Bib. Nov, I. 128. Obras de 
 Guevara, fol. 1545. black letter, f. 126. b ) His Relox 
 de Principes His Lives of the ten Roman Emperors 
 His Treatise on a Courtier's life &c. His character. 
 
 81. GENERAL REMARKS ON THE ITALIAN SCHOOL in Span- 
 ish literature, both while it was conceited or during the 
 reigns of John II. Henry IV. and Ferdinand and 
 Isabella ; and while it was more liberal and enlightened, 
 or during the reign of Charles V. 
 
 82. GENERAL REMARKS ON THE WHOLE EPOCH and on the 
 rich and abundant materials it affords as the foundation 
 for an independent, original literature.
 
 EPOCH SECOND. 
 
 THE LITERATURE, THAT EXISTED IN SPAIN, BETWEEN THE 
 DEATH OF THE EMPEROR CHARLES V. AND THE ACCESSION 
 OF THE BOURBON FAMILY J OR THE PERIOD THAT COM- 
 PREHENDS THE BEST LITERATURE OF THE COUNTRY. 
 
 JFROM ABOUT 1555 TO ABOUT 1700.
 
 SECOND EPOCH. 
 
 FIRST DIVISION. 
 
 83. THE PRINCIPAL AUTHORS, WHO GAVE THE LEADING IM- 
 PULSE TO THIS EPOCH. 
 
 84. INTRODUCTORY REMARKS. The period of national 
 greatness, that of national literary success in almost all 
 countries. Consolidation of the Spanish monarchy at 
 home. Its extent abroad. America discovered 1492. 
 Low countries added, by inheritance, to Charles V. 1516. 
 Empire of Germany, 1519. His expeditions and conquests. 
 New impulse given to the Spanish character. Its effect on 
 the national literature begins to be visible at the end of the 
 reign of Charles V. Robertson's Charles V. passim. 
 
 85. DIEGO HURTADO DE MENDOZA, b. in Granada in 1503. 
 (See his Life prefixed to his Guerra de Granada, 1. 4to. 
 1776. It was written by the learned Inigo Lope de Aya- 
 Iju Cf. Cerda ad Rhetor. Vossii, Svo. Matriti 1786. p. 
 189. note 1.). His family distinguished among the nobles. 
 Destined to the church. Knowledge of Arabick. Studies 
 at Salamanca. 
 
 5
 
 34 
 
 86. LAZARILLO DE TORMES (1. 12mo. Burdeoa 1816, com- 
 plete. 1. 12mo. Madrid 1664, curiously expurgated) which 
 he wrote at this time, is the first story in the gusto picaresco, 
 of which Gil Bias is the most perfect specimen. Its 
 outline and character. 
 
 87. Mendoza goes to Italy. Becomes a soldier, Guerra de 
 Granada, p. 231. Continues his studies. Minister to the 
 Republic of Venice in 153S. His connexion with the Al- 
 di. Paulus Manutius dedicates an edition of Cicero's phi- 
 losophical works to him. He is created military governor 
 of Sienna. He is sent as imperial ambassador to the Coun- 
 cil of Trent and finally, in 1547, as imperial ambassador 
 to Rome. His great power and influence. He returns 
 home in 1554. Philip II. does not favour him. He comes 
 seldom to court. Offends the king, and is exiled. 
 
 88. Writes poetry. (Sedano, Parnaso Espanol, iv. 1-23. 
 viii. 97-120.) His Epistle to Boscan, (Obras de Boscan, 
 1543, fol. cxxix. sqq.) is partly an imitation of Horace's 
 Epistle to Numicius. (I. Epist. 6.) The Hymn to Car- 
 dinal Espinosa, full of Pindar. (Sedano, iv. 13. note p. ii.) 
 General character of his poetry. 
 
 89. Two very amusing prose-letters, first printed in 1789 ; 
 one, in ridicule of the general sycophancy of those who 
 were seeking for office, (Seminario Erudito, 4to. xviii. 238, 
 sqq.) and the other, to Pedro Salazar, ridiculing a book he 
 had published in 1 552. (Semin. Erudit. xxiv. 205, sqq. 
 D. Quixote, Ed. Pellicer, II. 4. note. II. N. Antonio. 
 Nov. 235.) The original gaiety of his disposition. 
 
 90. He retires to Granada. Gives himself to the study of 
 Moorish literature. Writes his GUERRA DE GRANADA 
 the history of the rebellion of the Moors between 1568
 
 35 
 
 and 1570. His extraordinary means for such a work. 
 Imitates the ancients, but chiefly Sallust. His fine descrip- 
 tion of the spot covered with the bones of Alonzo de Agui- 
 lar and his party, (Guerra de Granada, 4to. 1776. Lib. IV. 
 p. 300.) taken almost verbatim from Tacitus. (Annal. I. 
 61, 62. Cf. also Hita, Guerras Civiles, I. 566-578.) The 
 eloquent speech of Zaguer, the Moor, (Lib. I. p. 29-31.) 
 is imitated from Livy. The whole work is short. Its 
 character. 
 
 He gives his books to Philip II. and they are still among 
 the chief treasures of the Escorial. He dies April 1575. 
 His character. 
 
 91. FERNANDO DE HERRERA, b. at Seville soon after 1510. 
 A monk. Died soon after 1590. (Fernandez, Coleccion 
 de Poesias Castellanas, IV. 82-87.) 
 
 Most of his works are lost. His chief and best attempts 
 are in lyrical poetay. (Fernandez, Col. IV. and V.) His 
 system to raise the poetry of his country was pushed too 
 far. Some of his odes, however, are free from it, and have 
 a very high merit. That on the battle of Lepanto, 1571 ; 
 (Fernandez, V. 38.) and that on the death of Sebastian 
 of Portugal, 1578, (V. 104.) are very fine. His poetical 
 works, first printed in 1619, (Cean, Diccionario de las Bel- 
 las Artes, IV. 19.) The earliest excellent lyrical poetry in 
 Spain. 
 
 \> 92. Luis PONCE DE LEON, b. in Granada in 1527. (Vide 
 a life of him in Gregorio Mayans y Siscar, Cartas de vari-
 
 36 
 
 es autores Espanoles, 12mo. 1773. Valencia, IV. 398- 
 
 468.) His family noble Studies at Salamanca. Becomes 
 
 an Augustine monk. Doctor in theology 1560. Professor 
 at the university 1561. 
 
 93. His Cantar de Cantares, or Translation of Solomon's 
 Song, made for a friend, who did not understand the vul- 
 gate, and in which he maintains that work to be a pastoral 
 eclogue, (OBRAS DE F.Luis DE LEON, 6. 8vo. MADRID 1804 
 -1816. V. i. and 5.) fell into the hands of an enemy. In 
 1572 he was brought before the inquisition, charged on this 
 MSS. with Lutheranism, (Obras, V. 293. Llorente, Hist. 
 de 1'Inquisition, Paris 1818, II. 453.) and with other offen- 
 ces. Remains in prison five years. Released and restor- 
 ed in the university, 30. Dec. 1576. (Sedano Parnaso 
 Espanol, V. xii.) 
 
 In 1580, he published his full length Commentary on the 
 Canticles. (II. N. Ant. Bib Nov. 46.) Still maintains it 
 to be an eclogue in form. (Obras, V. 12.) His beautiful 
 translation of the whole in verse, never printed till 1806. 
 (Obras V. 258-280.) 
 
 94. His Nombres de Christo published between 1583 and 
 1585. ^Obras III. IV.) Its character. Dialogues in imi- 
 tation of the Tusculan Questions ; but falls even more into 
 long speeches. A sermon once occurs, (III. 160-214.) 
 Its peculiar eloquence. 
 
 His Perfecta casada, or Perfect wife (Obras IV.) first 
 published 1583, is the most popular of his prose works, and 
 his Exposition de Job, written between 1576 and 1591, but 
 first published, 1779 (Obras I. II.) is, on some accounts the 
 most able. Their character. 
 
 He never recovered his health or spirits after his confine- 
 ment. His great influence. Died 1591.
 
 37 
 
 95. His poetical works (Obras VI.) collected from his early 
 MSS. to please his friend Pedro Porto Carrero, were first 
 published by Quevedo in 1631. Among them are many 
 beautiful translations; but, especially, about an hundred 
 pages of original compositions, which are to be placed at 
 the head of Spanish lyrical poetry. Sre Obras, VI. 5. 21. 
 24. 28. 31. 42. 61. etc. 
 
 96. MIGUEL DE CERVANTES SAAVEDRA. (Two Lives of 
 him are important one, prefixed to the academy's edition 
 of Don Quixote, 1780, arid written by Vicente de los Rios, 
 Guarinos Bib. Esp. del Reynado de Carlos III. Tom. V. 
 p. 19. and the other, by Pellicer, prefixed tq his own ex- 
 cellent edition of Don Quixote, Madrid, 1797.) Cervan- 
 tes was born at Alcala de Henares, in Oct. 1547. Allusions 
 to the place of his birth, in his .works. (D. Quixote, Parte 
 I. c. 29. Galatea, 1784, I. p. 66.) His early studies. His 
 instructer publishes some of his poetry in 1569. (Don 
 Quixote, edicion de Masson, Paris, 12mo. 1814. I. 312. 
 317.) Character of this poetry. 
 
 . In 1570 he is at Rome with Cardinal Aquaviva. (Gala- 
 tea 1784. Dedicatoria, I. vii.) Holy League of 1571. 
 Cervantes enlists. His military feelings continued with him 
 through his life. (Persiles y Sigismunda, 1802. 8vo. II. 
 128.) At the great fight of Lepanto, Oct. 8, 1571, he re- 
 ceived a wound, which deprived him of the use of his left 
 hand and arm for life. ('Viage al Parnaso, 8vo. 1784. c. I. 
 p. 6. 9.) His proud recollections of that day. (D. Quix- 
 ote Prologo al Parte II.) Probably, he continued in the 
 expedition during 1572. (D. Quixote, Parte I. c. 39.)
 
 38 
 
 After this, he was above a year at Naples in the service of 
 Spain. (Viage al Parnaso, c. 8. p. 126. D. Quixote, Ed. de 
 Masson. I. 333. J Embarked at Naples to return to Spain. 
 Taken by an Algerine man of war, Sept. 16. 1575. Remain- 
 ed in captivity five years and an half. His great sufferings. 
 The boldness of his projects to escape. The distinguished 
 reputation he acquired at Algiers. (D. Quixote, Ed. de 
 Masson, I. 328-333.) Ransomed by the joint contributions 
 of his mother and sister and the religious commissioners, 
 and returned home, 1581. (ib. 333-335.) 
 
 98. After having failed in an attempt to get an office in the 
 American provinces (Archives de las Indias, Sevilla, Es- 
 tante, II. Cajon 5. Legajo 1. MSS.) he devoted himself to 
 letters. 
 
 ^ 99. His EARLY PLAYS. State of the stage at the time, he 
 wrote them. (Comedias &tc. 1749. Tom. I. Prologo al Lec- 
 tor.) The mode he took to raise it. Wrote twenty or 
 thirty pieces. Two of these discovered in 1782 and print- 
 ed in 1784, with the Viage al Parnaso in 1. Svo. Madrid. 
 ~El Trato de Argel, or Lafe at Algiers. Its character. One 
 of its episodes, he afterwards used in his tales. (Novelas 
 Valencia, 1797. 1. 97 sqq.) The whole play used after- 
 wards in the composition of another. (Comedias, 1749. 1. 
 186.) Numancia, founded on the story of the siege of 
 Numantia. (Florus, Epit. II. 18. Mariana, Lib. III. c. 6- 
 10.) Its character. A. W. SchlegePs opinion of it. (Vor- 
 lesungen iiber dramatische Kunst, II, ii. 345.) These two 
 pieces are to be dated soon after his return from captivity. 
 
 100. LA GALATEA, SEIS LIBROS, 2. Svo. Madrid, 1784. First 
 published, 1584. A pastoral romance in prose, unfinished. 
 Diana Enamorada of Montemayor, 1545, and Gil Polo's 
 continuation of it, 1564. A species of composition essen-
 
 39 
 
 tially in bad taste. Cervantes' style in the Galatea is, how- 
 ever, beautiful. His own opinion of it. (Don Quixote, 
 Parte I. c. 6.) Broken off, perhaps, from finishing it by 
 his marriage, Dec. 1584. Frequently thought of resuming 
 it, even till his death ; (Persiles y Sigismunda, I. xii.) but 
 still it is a fragment. 
 
 ^ 101. In 1585, 6, and 7, he was at Madrid. Goes to Seville. 
 Seems to have been engaged in some business there. In 
 1595, he gained a poetical prize at Zaragoza. In 1596, 
 his sonnet on the troops, that came to Seville, (D. Quix- 
 ote, Pellicer, I. Ixxxv.) and in 1598, one on a quarrel be- 
 tween the municipality of Seville and the inquisition, which 
 he valued very highly. (Viage al Parnaso, c. 4. p. 53. Se- 
 dano, ix. 193) 
 
 (^ 102. In 1604, he goes to Valladolid, with business to transact. 
 Publishes the first part of Don Quixote 1605. In 1606, he 
 follows the court to Madrid, where he passes the rest of his 
 life. In 1610, attempts to get a place under the count de 
 Lemos, viceroy of Naples, through Lupercio de Argensola, 
 of whom he had spoken with great admiration, (D. Quix- 
 ote, Parte I. c. 48.J and alludes to his want of success ia 
 his Viage al Parnaso, c. 3. p. 40. 
 
 ^103. NOVELAS EXEMPLARES, 2. 12>io. VALENCIA, 1797. First 
 published 1613. Twelve stories of unequal length. Two 
 of them written before 1604. (D. Quixote, Ed. Pellicer III. 
 200.) and others at different times. Much of his personal 
 observation in them, as in Rinconete y Cortadillo, II. 290 
 sqq. ; the Zeloso Estremeno, I. 169 sqq. ; and the Amante 
 Liberal, I. 97 sqq. The Gilanilla on the gypsey life, 
 as it then existed in Spain, is a very beautiful story, full of 
 Spanish character and manners, written about 1610. (II.
 
 40 
 
 62 and 85.) Sketch of the gipsey history Irom their first 
 appearance in Europe, about 1417, till the time when Cer- 
 vantes wrote this story. (Grellmann's Geschichte der Zi- 
 geuner, 1. 8vo. 1787.) The story itself. Its character. 
 Rinconete y Cortadillo Jimantt Liberal and other tales. 
 
 ^ 104. VIAGEAL PARNASO, MADRID 1784, 1. Svo, first publish- 
 ed 1614. Imitation of Cesare Caporali. Its character. 
 
 Cervantes is held in greater esteem patronized by the 
 count de Lemos, and by the archbishop of Toledo. Does 
 not seem, from this time, to have suffered greatly from 
 poverty. (Carta Castellana de J. A. Pellicer &c. 1800. 
 12mo. p. 11.) 
 
 105. COMEDIAS Y ENTREMESES 2. Svo. MADRID, 1749, first 
 published, 1G15. Eight plays in three Jornadas or acts, 
 and eight Entremeses, or farces. His earlier pieces, (Viage 
 al Parnaso, p. 139.) Lope supersedes him entirely, (Come- 
 dias &c. 1749, Prologo.j and establishes a numerous school 
 of writers on the stage before 1615. These plays of Cer- 
 vantes were written in imitation of Lope and his school 
 about 1614. They were never represented Printed them 
 with difficulty. (Prologo del Autor.) Different reasons 
 given for their little merit, by Bias de Nasarre (Prologo. 
 del, que hace imprimir, 1749. Tom. I.) and Xavier Lam- 
 pillas, (Ensayo historico-apologetico de la Literatura Espa- 
 nola, 1789. Madrid, VI. 170 sqq.) The true reason why 
 he failed. 
 
 ^ 106. In Oct. 1615, he published the second part of his Don 
 Quixote. Alludes to his failing health in the dedication. 
 Incident on his return from Esquivias, where he went in the 
 spring of 1616. (Persiles y Sigismunda, I. xiv.) April 2d, 
 became a Franciscan friar. April 18th, received the ex-
 
 41 
 
 treme unction. April 19th, wrote the extraordinary dedica- 
 tion to Persiles y Sigismunda. April 23d, died. 
 
 107. PERSILES Y SIGISMUNDA, 2. 8vo. MADRID, 1802. First 
 published 1617. His purpose in writing it. A serious ro- 
 mance. Resemblance to Theagenes and Chariclea ; but 
 has much in common with other earlier efforts in romantic 
 fiction. Its character. 
 
 108. DON QUIXOTE, EDICIONDE J. A. PELLICER, MADRID, 
 
 1797, 1798. 5. 8vo. Know little of Cervantes, during the 
 twenty years immediately preceding the publication of the 
 first part. Tradition of his ill-treatment in La Mancha, 
 probable. Declares in the Prologo, (I. Ed. Pellicer, p. 
 cxxi.) that he began its composition in a prison. Singular 
 intentions and a sort of allegorical purpose sometimes at- 
 tributed to him; (Sismondi, Litt. du Midi, III. 339 sqq.j but 
 his own reasons (Don Quixote, Paris, 1814, VII. 396.) 
 quite sufficient, when we consider the extraordinary fanati- 
 cism for books of chivalry then prevalent. (Obras de Gue- 
 bara, 1545. f. clviii. Mayans y Siscar, Origines &tc. II. 
 158. Pedro Mexia, Vida de Constantino, c. 1. D. Quix- 
 ote, Paris, 1814, II. 7-10. VI. 101. II 170.) 
 
 109. PARTE PRIMERA, first published 1605. Its general out- 
 line. 
 
 110. Before the second part was published, though after it had 
 been announced, (Novelas Exemplares, Preface) there ap- 
 peared in 1614, f^ida y Hechos del ingenioso Hidalgo, Don 
 Quixote de la Mancha. Contiene su quarta salida y la 
 quinta pane de sus aventuras. For el Licenciado JUonso 
 Fernandez de Jlvellaneda, natural de Tordesillas. (A new 
 edit. Madrid, 1805,2. 12mo.) The name here given is 
 feigned, and the real one is not known. (D. Quixote, Ed. 
 
 6
 
 42 
 
 Pellicer, I. clvi-lx. V. 234, note.) Probable cause of its 
 being written. Cervantes receives it, no doubt, while writ- 
 ing the fifty-ninth chapter of the second part. His perse- 
 cution of it, (D. Quixote, Paris, 1814, VII. 181 sqq.) arid 
 entire triumph over it. 
 
 111. PARTE SEGUNDA, first published in 1615. Its general 
 outline. 
 
 112. Cervantes was little aware of what he had done, as is ap- 
 parent from the great carelessness shown in the whole work. 
 It has, properly speaking, no plan. (D. Quixote, Ed. Pelli- 
 cer, I. xxviii. sqq.) In some parts, the hero belongs to a 
 remote age in others, he is contemporary with his author. 
 (Examen. Critico &c. [por J. A. Pellicer,] 1806, 12mo. p. 5 
 sqq. Ant. Eximeno, Apologia &ic. 8vo. 1806, p. 15 sqq.; 64 
 sqq. D. Quixote, Paris, 1814, VII. 101. VI. 218.) Other 
 absurd mistakes and inconsequences, showing how little he 
 valued his work. (D. Quixote, Paris, 1814, iv. 230 iv. 
 52. 157 v. 71. vii. 114. 263. vii. 180, note. iii. 80, note. 
 379. (h.) vii. 71. vi. 401. P.) The characters of Don Quixote 
 and Sancho. Difficulty of translating the Don Quixote. (Tyt- 
 ler's Essay on Translations, 8vo. 1813, p. 281 sqq.) Great 
 eloquence and rich style of large portions of it. It is the 
 oldest clasical specimen of romantic fiction. How we should 
 consider the character of Cervantes himself. 
 
 113. ALONSO DE ERCILLA Y ZuniGA b. Madrid, Aug. 7, 
 1533. Page to Philip II. Travels with him, 1547-1551. 
 In England, 1554, when Philip married Mary. Troubles 
 in Arauco. Expedition against it undertaken. Ercilla
 
 43 
 
 joins it, aged 21. (Araucana, c. xiii. vol. 1. p. 250. Great 
 sufferings in South America. He is near being executed 
 for an affray at a tournament; (Vol. 11. 379. 401.) and is, 
 at last, exiled. Returns to Spain in 1562. Marries, 1570, 
 Dona Maria de Bazan. His notice of her. (Vol. II. p 
 63.) In 1576 he is gentleman of the bedchamber to the 
 emperor of Austria. In 1580 he is in Madrid again. In 
 1596 occupied on another poem. Time of his death un- 
 certain. (Life, prefixed to the Araucana, and in Sedanoj 
 Parnaso Esp. II. xvi. sqq.) 
 
 114. LA ARAUCANA &o. MADRID, 2. 8vo. 1776. The best of 
 the Spanish heroic poems. Its predecessors, La Carolea 
 por Geronimo Sempere, 2. 12mo. 1560, thirty cantos, and 
 Carlo Famoso, de Luis Zapata, 1. 4to. 1565, fifty cantos, 
 are both chronicling poems, that do not deserve the name of 
 epics. The Araucana imitates them, in being a faithful 
 history of the war of Arauco, (II. p. 3.) but has a much 
 more poetical spirit. Difficulties under which it was writ- 
 ten. (I. liv.) First Part, fifteen cantos, printed 1577. De- 
 termines to add more poetical ornament. (Parte segundo 
 Prologo.) Second Part, canto xvi to xxix inclusive, published 
 1578. Vision of Bellona, Cave of Fiton, Stories of Te- 
 guelda and Glaura. Third Part, to canto xxxvii, printed 
 1590. Reputation of Dido defended. Sketches of his 
 own life. Philip's claim to the crown of Portugal. Char- 
 acter of the entire poem. Cervantes' opinion of it. (Don 
 Quixote, Ed. Pellicer, I. 69.) 
 
 115. LOPE FELIX DE VEGA CARPIO. (Best life contained in, 
 Some account of the lives and writings of Lope Felix de
 
 44 
 
 Vega Carpio and Guillen de Castro, by Henry Richard 
 Lord Holland. Lond. 1817, 2. 8vo. His works are, Co- 
 
 LECCION DE LAS OfiKAS SUELTAS DE D. FREY LoPE FELIX 
 
 DE VEGA CARPIO, published in Madrid 1776-1779, in 21 
 Vols. 8vo. with prefaces by the learned Cerda y Rico. Cf. 
 II. Guarinos Bib. del Reynado de Carlos III. p. 173 ; be- 
 sides his DRAMAS.) Lope b. Madrid, Nov. 25, 1562. 
 Early talents and knowledge. (Obras sueltas, xx 28.) 
 Runs away from school ; but is brought back, (ib.) Secre- 
 tary to the inquisitor general. Studies at Alcala. Secreta- 
 ry to the duke of Alva. 
 
 LA ARCADIA, (Obras suelt. VI.) a pastoral romance writ- 
 ten to please the duke, (Obr. suelt, xx. 31.) Not printed 
 till 1598. Its character. Probably contains part of the 
 private history of the duke of Alva. (Quarterly Review, 
 xviii. 18.) 
 
 116. Lope marries. (Obr. suelt, xx. 31.) Duel. Flies to Va- 
 lencia. Returns. His wife's death. Eclogue on the oc- 
 casion. (Obr. suelt, IV. 430-443.) Becomes enamoured 
 of another lady, who does not favour him, and he enters 
 the armada, 1588. (Obr. suelt. ix. 355.) Death of his 
 brother. His literary labours on ship-board. Returns 1590. 
 Secretary to the Marquis de Malpica, and the count de Le- 
 mos. (Obr. suelt. xx. 33.) Marries again. His happiness, 
 (Obr. suelt. ix. 357) and its loss from domestic griefs. 
 Death of his wife. Enters the church. Secretary to the 
 inquisition. Becomes a Franciscan monk, 1610. (Don 
 Quixote, Ed. Pellicer, I. cxcix.) Zealously continues his 
 literary labours. 
 
 117. CANONIZATION OF SAINT ISIDRO. Notices of the saint. 
 (Obr. suelt. xi. 343.) Lope's poem, San Isidro de Madrid. 
 Its character. Jubilee at Madrid 1620. Its character.
 
 45 
 
 Lope's dramas for it. (Obras suelt. xii.) The Poetical 
 Tournament. (Obras suelt. xi. 395.) What was done. 
 Tome de Burguillos. (Obras suelt. xi. 401. xii. 426.) 
 Volume of poetry under this name, 1632. (Obras suelt xix.) 
 and the dispute it has occasioned. (Fernandez, Coleccion 
 de Poesias Castellanas, xi. Sedano, Parnaso Esp. II. 
 xxix.) Lope's efforts in honor of San. Isidro from 1598 to 
 1620. 
 
 ^ 118. LA HERMOSURA DE ANGELICA, of the school of Ariosto, 
 written on board the armada, and printed 1602. (Obras 
 suelt. II.) In imitation, probably, of the Lagriraas de An- 
 gelica by Luis Barahona de Soto, printed 1586. (D. Quix- 
 ote, Ed. Pellicer I. 70.) Its character. 
 
 ^ 1 19. LA DRAGONTEA, a bitter poem against England, the hero 
 of which is sir Francis Drake. Printed 1 602. (Obras suelt. 
 III.) Great terror of sir Francis' name in Spain. (Bacon's 
 Works, 8vo. 1819, III. 517. Romancero General, 1604, 
 f. 35.) Vulgar spirit of the Dragontea. Its literary char- 
 acter. 
 
 i} 120. JERUSALEN CON^UISTADA, printed 1609. An epic in ri- 
 valry with Tasso. (Obras suelt. xiv-xv.) A total failure. 
 
 ^121. In 161 4, published a collection of sacred poetry. (Obras 
 suelt. XIII. vii.) Its ballads still sung. (p. 276-313.) In 
 1617, controversy with Pedro Torres de Ramila. (Don 
 Quixote, Ed. Pellicer, I. cv.) In 1621, printed tales in im- 
 itation of Cervantes. (Obras suelt. VIII.) In 1624, pre- 
 sides at the burning of a heretic. (Pellicer, Origen &rc. I. 
 104, 105.) In 1625, printed his Triunfos Divinos, in rival- 
 ship with Petrarch. (Pbras suelt. xiii.)
 
 46 
 
 122. CORONA TRACJICA Epic in five books on Mary Queeu 
 of Scots, printed 1627. (Obras suelt. IV.) Its character. 
 
 123. LA DoROTEA,a long romance in prose dialogue, like the 
 Celestina, (cf. ^ 30) printed 1632, (Obras suelt. VII.) and 
 which was his favourite among his works. (Obras suelt. ix. 
 367.) He is himself, probably, its hero. (vii. 449.) Its 
 character. 
 
 124. Great amount of sacred poetry written in his last years. 
 Some of it festive and frivolous, (ex. gr. xiii. 413. 435. &,c.) 
 Some, having the air of a gross and sensual fanaticism, (ex. 
 gr. xiii. 205.) And some, uncommonly solemn and impres- 
 sive, (ex. gr. xiii. 186.) In the last year of his life, he was 
 in a hypocondria, bordering on derangement. (Obras suelt. 
 xxi. 37.) His dreadful penance. Death, 26 Aug. 1635. 
 Magnificence of his funeral. (Obras suelt. xxi- 42.) The 
 eulogies on his death unparalleled in amount, (ib. xx. xxi.) 
 The respect shown him during his life. 
 
 125. LOPE'S DRAMATIC WRITINGS. State of the theatre from 
 Lope de Rueda to his time. (Lope, Prologo a las Comedi- 
 as, xiii. Cervantes, Prologo a las Comedias, I.) Lope de 
 Vega wrote childish plays, as early as 1574. (Obras suelt. 
 IV. 412.) Wrote his Jacinta, as early as 1580. (Obras 
 suelt. xx. 30.) None of these, probably, represented. 
 Perhaps did not write for the public stage, till after his re- 
 turn from the armada in 1590. Cervantes then at Seville, 
 so that the theatre was perfectly open to him. His great 
 success, (xx. Obras suelt. 31.) In 1604 had written 343 
 full length dramas. (Obras suelt. V. xviii.-xxv.) In 1609 
 he had written 483. (IV. 417.) In 1632 he had written 
 1500. (Montalvan, Para Todos, Ed. 1661. p. 533.) In 
 1635, when he died, he had written 1800 dramas and 400
 
 47 
 
 autos. (Obras suel. xx. 49.) More than an hundred were 
 written in a single day each. (Obras.^suelt. ix. 368.) Child- 
 proofs of extraordinary facility, (xx. 52.) He wrote in 
 different forms, which have remained settled forms of the 
 theatre in Spain since his time. 
 
 126. 1. Comedias de Capay Espada. Meaning of the name. 
 Their characteristics. La hermosa Fea ; Dineros son Ca- 
 lidad ; La Moza de Cantaro ; Autes que te cases, mire lo 
 que haces ; and For la Puente Juana, are among his best 
 dramas of this class. He first used the Gracioso, or stand- 
 ing buffoon, who jests at the author, the actors, and the audi- 
 ence, in La Francesilla, and this character has remained on 
 the Spanish stage in all forms of the national drama, ever 
 since. (D. Quixote, Ed. Pellicer, IV. 67, note.) The Ga- 
 lan and Dama, are, also, standing characters the Capigor- 
 ron, a frequent one, &c. 
 
 127. 2. Comedias Historiales or Comedias heroycas. Dif- 
 ference between these and the last. Their characteristics. 
 Two on Bernardo del Carpio ; El Exemplo mayor de la 
 Desdicha, y Capitan Belisario ; several on ancient Spanish 
 history, La Estrella de Sevilla &c. are among the best in 
 this class. 
 
 128. 3. Comedias de Santos. Their characteristics. Written 
 chiefly, because, at that time, the theatre was almost stopped 
 by ecclesiastical influence ; and Lope's plays, in particular, 
 forbidden. (I. Pellicer, Origen. &c. I. 120. 151-154. D. 
 Quixote, Ed. Pellicer, IV. 110, note. Rojas, Viage entre- 
 tenido, 1614, 49. a.) Their resemblance to the ancient 
 mysteries. La Creacion del Mundo ; El Nacimento de 
 Christo ; the two on San. Isidro ; San. Nicholas de Tolen- 
 tino, &c. are among the best of this class by Lope.
 
 48 
 
 129. 4. Autos Sacramentales. Their characteristics. Occa- 
 sions, when they were performed. (D. Quixote, Parte II. 
 c. 11. Pellicer, Origen. &c. I. 258, sqq.) El Nombre de 
 Jesus ; El Missacantano, &c. are specimens. 
 
 130. 5. Entremeses. Origin of the word. (Covarrubias, Te- 
 soro, ad verb.) How they were introduced and used. 
 (Obras sueltas, xii, 407.) El Doctor simple ; El Padre 
 enganado ; El letrado &tc. are specimens. Their pur- 
 pose. 
 
 131. What means Lope had to create a national drama. 
 What his designs were in relation to it. (Obras suelt. IV. 
 406.) What he effected. The extension of the drama in 
 his hands. Increase of the theatres and actors. (D. Quix- 
 ote, Ed. Pellicer, IV. 110, note.) Extent of his fame. 
 His plays acted in Italy. One acted in the Sultan's se- 
 raglio at Constantinople, (ib. III. 93. note.) The charac- 
 ter and divisions he gave the Spanish drama, have continu- 
 ed essentially unaltered ever since, in that portion of it, 
 which is to be considered national. 
 
 132. VAST AMOUNT OF LOPE'S WORKS IN PRINT. Many nev- 
 er printed. (Obras suelt. ix. 369.) Great wealth he obtained 
 from them. (Obras suelt. xx. 47 ) Their prevailing mer- 
 its and defects. The fashion of improvisation about his 
 time. (Pellicer, Origen, I. 163. Rapidity with which he 
 composed. (Obras suelt. xx. 51,52.) Resemblance of his 
 talents and the spirit of his works to the genius of Improvi- 
 sation.
 
 49 
 
 133. FRANCISCO DE QUEVEDO Y VILLEGAS. Life. Obras, 
 Tom. xi. b. 1580. Made D. D. at fifteen. Great learn- 
 ing, and persevering industry. At court. A duel. Es- 
 capes to Sicily. Patronized and employed there by the 
 Duke of Ossuna. 1615, sent to Madrid ; pensioned. 1616, 
 Minister of Finance to the Duke as Viceroy of Naples. 
 1618, sent to Madrid, and is in great favour both there and 
 on his return to Naples. 1620, fall of the Duke of Ossuna. 
 Quevedo imprisoned three years and a half. His great 
 sufferings. Released ; and refuses publick employments. 
 1634, married ; but his wife dies very soon. 1641, an in- 
 famous satire imputed to him, and he is thrown into pris- 
 on. Suffers dreadfully for two years, and is found inno- 
 cent and released. Retires to his patrimonial estate very 
 poor. Dies Sept. 8, 1645. 
 
 134. His WORKS. Obras de D. Francisco de Quevedo 
 y Villegas, &c. 11. 8vo. Madrid 1791-1794. Variety of his 
 talents. Many of his works lost (N. Ant. Bib. Nov. I. 
 463. Obras xi. 45.) His Poetry printed between 1648 
 and 1670. (Bachiller de la Torre 1753, p. xii. Obras VIII. 
 67.) Called Parnaso Espanol. Sonnets, Ballads, Odes, 
 Elegies, Epistles, Idylls, Quintillas, Redondillas, Entreme- 
 ses, fragment on Orlando Furioso. His Gypsey Ballads, 
 very popular. (Romancero de Germania, I2mo. 1779, 226 
 -295.) Satires. (Obras vii. 192. viii. 553, &c.) 
 
 135. EL BACHILLER DE LA TORRE. Cultismo of the 
 times, a sort of Euphuism. His attacks on it. (Obras I. 
 443. 448. viii. 82. 85. &c.) Prints a collection of Poems 
 under the name of the Bachelor de la Torre, 1631. (Poe- 
 sias que publico D. Francisco de Quevedo Villegas, &ic. 
 Con el nombre del Bachiller Francisco de la Torre, se- 
 gunda edicion por D. Luis Joseph Velazquez, Svo. 
 1753.) Controversy whether Quevedo was really the 
 
 7
 
 50 
 
 author. (Sedano II. xiii. IV. xxxix. Quintana I. xxxix. 
 Fernandez Coleccion IV. 40, &c.) Their character. 
 
 136. His PROSE. His Treatise on the Providence of God 
 Divine Politicks Life of St. Paul Life of St. Thom- 
 as Translation of Seneca de Remediis utriusque fortunse, 
 with a singular commentary, &c. (Obras X. VI. III.) These 
 are all grave. Their character. His humorous and satir- 
 ical prose forms the foundation of his fame. His Vida del 
 gran Tacafio (Obras I.) a picaro romance. Its character. 
 Cartas del Caballero de la Tenaza, &tc. (ib.) His six VIS- 
 IONS, 1608-1622, (Obras I.) their very extraordinary 
 character. His originality. His great power and talent. 
 
 137. General remarks on this Division. 
 
 SECOND DIVISION. 
 
 138. THE CONTEMPORARIES AND SUCCESSORS OF THESE 
 LEADING MASTERS, WHO, IN THE SAME AND OTHER DE- 
 PARTMENTS OF SPANISH LITERATURE, SUSTAINED ITS 
 CHARACTER DOWN TO ABOUT THE EXTINCTION OF THE 
 AUSTRIAN FAMILY IN 1700, ARRANGED ACCORDING TO THE 
 SPECIES OF WRITING, IN WHICH THEY WERE DISTINGUISHED. 
 
 I. EPIC POETRY 
 
 139. Sudden appearance of Epic poetry in the reign of 
 Philip II. Its general character. 
 
 La Cdrolea por Hierony mo Sempere, 2. 12mo. 1560. 
 Its subject and character. (Cf. Ximeno, I. 135. Diana 
 de Polo, 1802. p. 380.)
 
 51 
 
 Carlo Famoso por Luis de Zapata, I. 4to. 1565. Its 
 subject and character. (Cf. D. Quixote, Pellicer, I. 71. 
 note 3.) 
 
 La Araucana por Monso de Ercilla y Zuniga, 1577- 
 1590. Cf. ^ 113. 114. 
 
 El Golfo de Lepanto por Hieronymo Cortereal, 1. 
 4to. Lisboa, 1578. Its subject and character. (Cf. Bar- 
 bosa Bibliotheca Lusit. fol. II. 495, &c.) 
 
 La Austriada de Juan Rufo, 1. 12mo. 1584. Its 
 subject and character. Faber Floresta, &c. 1821. Nos. 
 96. 349. Other poems of Rufo. Don Quixote, Parte I. 
 c. 6. 
 
 El Leon de Espana por Pedro de la Vezilla Castella- 
 nos, 1. 12mo. 1586. Its subject and character. Don 
 Quixote ut supra. 
 
 El Monserrrate por Cristobal de t^irues, 1. 12mo. 
 1804 (first printed 1588.) Its subject and character. 
 (Cf. Ximeno, 1. 247. Cartas de Mayans y Siscar I. 106.) 
 
 De la Historia de Sagunto, Numancia y Carthago por 
 Lorencio de Zamora, 1. 4to. 1589. 
 
 Christoval de Mesa, three Epics, 1594-1612. (Cf. 
 Velazquez Dieze, p. 234. N. Ant. Bib. Nov. I. 247. 
 Sedano I. 198-225. II. xvi.) 
 
 Conquista de la Betica, por Juan de la Cueva, 1603. 
 Coleccion de Fernandez XIV. XV. Its subject and 
 character. 
 
 El Pelayo del Pinciano, 1. 12mo. 1605. Lopez Pin- 
 ciano. His Philosophia antigua poetica, 1596. Subject 
 and character of the Pelayo. 
 
 Lope de Vega's Epics, 1602-1627. Cf. ^ 118, 119, 
 120, 122, &c. 
 
 La Numantina de Francisco Mosquera, 1.4to. 1012.
 
 52 
 
 El Bernardo de Bernardo de Balbuena, 1.4to. 1624. 
 
 El Macabeo de Miguel de Silveyra, 1638. (1. 12mo. 
 1731.) Cf. Castro Bib. Rabbinica, I. 626. Nic. Ant. 
 Bib. Nov. II. 147. Obras suelt. de Lope de Vega, XL 
 551. XII. 190. 
 
 Invention de la Cruz por Francisco Lopez de Zarate, 
 1. 4to. 1648. 
 
 Napoles recuperada por Francisco de Borja, 1641. 
 (1651, 1. 4to.) 
 
 Imitations of Ariosto, particularly the Lagrimas de 
 Angelica, 1586. D. Quixote, Parte J. c. 6. Galatea, II. 
 117-170. 
 
 Mock heroicks. La Mosquea de Jose de Villaviciosa, 
 1615. (1. 8vo. 1777.) Lope's Gatomachia, &c. 
 
 General remarks on the Spanish Epics of the time of 
 the Philips, and the causes of their failure. 
 
 II. DRAMA. 
 
 j 140. Great extent of the Spanish Drama. Its sudden ap- 
 pearance and growth. Lope de Rueda about 1565. Cer- 
 vantes about 1582 ; and Lope de Vega before 1600. State 
 of the Theatre in 1615. So large an extent and variety of 
 authors, subjects, and pieces requires us to make divisions 
 of the Drama. 
 
 A. COMEDIAS DE CAPA Y ESPADA AND COMEDIAS HEROYCAS. 
 
 141: Union and confusion of these two species. Great 
 prevalence and popularity. Their characteristics as dram- 
 atized novels, which Lope professed to make them. (Obras 
 sueltas VIII. 70.) Constitute the most important class of 
 Spanish dramas.
 
 53 
 
 142. GASPAR DE AGUILAR an author in 1599. His Mer- 
 cader amante (the ground-work, perhaps, of Cervantes' 
 " impertinent curiosity") was rather in the manner of the 
 Argensolas, v} 36. D. Quixote, III. Ed. Pel. 214. chang- 
 es his manner to the popular one his success (Montalvan 
 Para Todos, p. 544.) His Suerte sin Esperanza, &a 
 (Ximeno, I. 255.) 
 
 143. Luis VELEZ DE GUEVARA, mentioned 1615 by Cer- 
 vantes, Prologo a las Comedias. His great success. Wrote 
 above 400 pieces. (Para Todos, p. 545.) Rival of Calde- 
 ron at the end of his life. His Nina de Gomtz JLrrias. 
 (Nic. Ant. Bib. Nov.' II. 68.) d. circa 1646. His Amor 
 vencido de Amor. His Luna de la Sierra. (Flor de las 
 mejores doce Comedias, 1. 4to. 1652.) His Mas Pesa d 
 JRey que la Sangre, founded on the story of Alonso Perez 
 de Guzman. (Mariana, I. 847, &c.) 
 
 144. GUILLEN DE CASTRO, fl. 1615-1626. (Ximeno, 1. 
 305.) A Valencian. Member of the Academia de los 
 Nocturnos. (Diana de Polo, 1802. 515-519.) His soldier- 
 ship his political power at Naples his pensions from the 
 Duke of Ossuna and Olivarez his decline and disgrace. 
 1620 assists Lope at the festival of San. Isidro. (XII. Lope 
 Ob. suelt. xlix. 200. 404.) Lope dedicates a play to him. 
 (Pellicer, II. 64.) Printed twenty-six plays between 1614 
 and 1625. His Amor constante His Piedad en la Justi- 
 cia His Don Quixote His Mocedades del Cid, in two 
 parts, founded on the old popular ballads. How Corneille 
 come to take the first part for his Cid (CEuvres, 1801. UI. 
 9.) 1635. Comparison of the two. Passages Guillen 
 took unaltered from the old ballads. (Roman. Gen. 1602. 
 213 a. Rom. del Cid, p. 13.) Second part of Guillen's 
 Cid poor. His character.
 
 54 
 
 vj 145. Luis DE BELMONTE, fl. 1G20-1632. (Para Todos, p. 
 545.) Twenty-seven plays known. His El mejor Tutor 
 es Dios. Comedias nuevas, 1. 4to. 1C67, Other pieces. 
 (N. Ant. Nov. II. 23.) 
 
 $} 146. ANTONIO MIRA DE MESCUA native of Cadiz. (Dia- 
 blo cojuelo, 1798, p. 100.) His great fame. Gains a 
 prize 1620. (Lope, Obr. suelt. xii. 219.) Praised by Lope 
 and Cervantes. His Rueda de la Fortuna. His Desgra- 
 dada Raquel, 1635. His Cavallero sin Nombre. Wrote 
 lyrical poetry. (Quintana, III. 390.) His Palacio confuso. 
 (Coraedias nuevas, 1667) formed the foundation for Cor- 
 neille's Don Sanche d'Arragon. (CEuvres, VI. 233.) 
 
 5) 147. JACINTO CORDERO a Portuguese b. 1606, d. 1046. 
 Barbosa Bib. Lusit. fol. II. 462. Nine Spanish plays, suc- 
 sessfully represented at Madrid. His Victoria por el Amor. 
 
 ^ 148. GABRIEL TELLEZ, commonly called TIRSO DE MOLI- 
 NA, b. Madrid circa 1580. (Deleytar aprovechando, 4to. 
 1765. Prologo. N. Ant. Nov. I. 510.) Educated at Al- 
 cala. 1620, enters a religious house. Becomes its head. 
 Hence prints his secular works under a feigned name. d. 
 1648. His Cigarrales de Toledo, 1. 4to. 1624. Its singu- 
 larcharacter. His dramatic talent. Wrote 70 plays at 
 least. A full disciple of Lope. (Cigarrales, 185-187.) 
 His Don Gil de las Colzas verdes ; its remarkably involv- 
 ed intrigue. His Burlador de Sevilla, foundation of the 
 character of all the Don Juans. His Vergonzoso en Pala- 
 cio, partly founded on history. (Mariana, II. 387.) His 
 Amor por Razon de Estado. His Como han de ser los 
 Amigos. His character and merits. 
 
 ^ 149. JUAN PEREZ DE MONTALVAN the immediate disci- 
 ple and friend of Lope. (N. Ant. Nov. I. 757.) b. 1603
 
 55 
 
 at Madrid. Careful education. Licentiate at 17. Con- 
 tended 1620 for the prizes, and gained one. (Lope suelt. 
 XL 501. 537, &c. XII. 424.) Doctor in Divinity. Officer 
 of the Inquisition. 1624, his Orfeo y Euridice a Poem. 
 
 1626, singular living in the church. (Para Todos, 428.) 
 
 1627, his Vida y Purgatorio de San Patricio, a religious 
 work. In 1631 he had written 36 dramas and 12 autos. 
 (Para Todos, 530.) His Panegyrick on Lope, 1635. 
 (Obras de Lope, XX.) d. 1639. 
 
 His Orfeo, 1. 4to, 1624, was perhaps Lope's work. (N. 
 Anl. Nov. I. 757.) Its merit as a poem. Wrote four or 
 five plays a year. (Para Todos, Prologo.) His Para To- 
 dos, 1. 4to. 1632. Its singular character. Nine editions 
 in 30 years. His Dramas. El Mariscalco de Biron. El 
 Zeloso Estremeno, from one of Cervantes' Tales. No hay 
 Vida como Ja Honra. Los JLmantes de Teruel. Tradi- 
 tion for this remarkable story. (Noticias historicas sobre 
 los Amantes de Teruel, por D. Isidro de Antillon, Madrid, 
 1806.) Poem on it by Juan Yague de Salas. (Latassa Bib. 
 Nueva de Aragon, II. 232.) Its fine dramatic effect. His 
 Mas constante Muger, written in four weeks. (Para Todos, 
 p. 508.) De un Castigo dos Venganzas its popularity, 
 (ib. 158. 169.) The great honours shown to JVo hay Vida 
 como la Honra. (Pellicer, I. 202.) He is attacked by 
 Quevedo repeatedly with merciless severity. (Obras, xij 
 124. 163, &EC.) His fame and merits. 
 
 150. In 1632, there were seventy-six writers for the thea- 
 tre in Castille alone (Para Todos, 543-546) contempora- 
 ries and followers of Lope nearly every one of whom 
 survived him. Among them, besides those already men- 
 tioned, the most distinguished were ALVARO DE CUBILLO, 
 ANTONIO DE MENDOZA, RODERIGO DE HERKERA, DIEGO 
 XIMINEZ ENCISO, ANTONIO DE COELLO, &c.
 
 56 
 
 151. Impulse given to the drama by the death of Philip III. 
 and the accession of Philip IV. 1621. Increase of the 
 actors and theatres. (IV. D. Quixote, Pel. 110. note.) 
 Theatres in the palaces and royal country seats. (Pellicer, 
 Origen. I. 189.) Magnificent exhibitions and representa- 
 tions, (ib. 174. 135. II. 146.) Philip IV. writes plays and 
 improvisates. (ib. 163.) 
 
 152. PEDRO CALDERON DE LA. BARCA. Comedias del 
 celebrepoeta Pedro Calderon de la Barca, fyc. que saca a 
 htz D. Juan Fernandez de Jlpontes, Madrid, 1760, 11. 4to. 
 Life prefixed, b. Madrid, Jan. 1, 1601. Educated by the 
 Jesuits. Studies at Salamanca. Attached to the couit. 
 Contends for the prizes 1620. (Lope Ob.suelt.XII.239.303. 
 363. 384. 424.) 1622, Poem in honour of Lope. Serves 
 as a soldier in Italy in 1625, and afterwards in Flanders. 
 1632, known on the stage. (Para Todos, 539.) His lyric- 
 al poetry. His Poem on the Deluge. Called to court in 
 1636, as a dramatic author. Knight of St. lago in 1637. 
 Serves against the Catalonian rebellion. Pension in 1640. 
 In 1651 enters a religious house. In 1653 chaplain at To- 
 ledo. In 1663 chaplain of honour to the king, and priest 
 of *he congregation of St. Peter, of which he was after- 
 wards head. His fame as an author of religious dramas, 
 d. May 25, 1687. 
 
 s 153. His songs, ballads, sonnets, treatise on the Dignity of 
 Painting account of the queen's entry, 1640. His relig- 
 ious work De los quatro novissimos, &c. &c. 
 
 > 154. IN THE DRAMA he wrote 100 Saynetes, 100 Autos 
 Sacramentales, 200 Lofts and 120 pieces in three acts. 
 They began to be printed in 1637 in collections. Four 
 volumes printed by his brother, 1640-1674. In 1680 he
 
 57 
 
 gave the Viceroy of Valencia, a list of 111 Dramas and 
 70 Autos. (Huerta Teat. Hesp. Parte Segundo. Tom. III. 
 p. iii xxxiv.) His friend Vera Tassis y Villaroel printed 
 an edit. 1685 ; but the most complete is that of 1760 in 
 17 vols. 4to. containing 73 Autos 74 Loas and 107 
 Dramas in three acts, which are all we now possess of his 
 dramatic works. Great confusion of character in all jhis 
 different works, so that it is extremely difficult to reduce 
 them to classes. His Jlrmas de la Hermosura. (Come- 
 dias, I. 111.) His Cefalo y Procris. (ib. II. 1.) His Hijo del 
 Sol Faeion. (ib. IV. 46.) His Fortunas de Andromeda y 
 Perseo. (VIII. 1.) His Conde Lucanor ; Nina de Gomez 
 Jlrrias, &c. His Jlmor despues de la Muerte ; (Comedias, 
 I. 350, &c.) its poetical and tragical character ; founded on 
 the rebellion described in Mendoza (Guerra de Granada.) 
 El Principe Constants (III. Comedias, 1 93, &zc.) founded 
 on fact. (Mariana, II. 345. 370. 482. Collec,aon de 
 livros ineditos, Ruy de Pina, I. 290-294.) Its elevated 
 and poetical character. El Medico de su Honra (VI. 1.) 
 La Dama Duende. (III. 47.) JVo hay burlas con el Amor. 
 (IX. 426.) Casa con dos Puertas, mala es de guardar. 
 (II. 185.) La Vanda y la Flor. (V. 50.) El Secreto a 
 Voces. (VIII. 222.) Mejor estd que estaba. (VIII. 366.) 
 What Calderon effected for the Spanish Drama. Laughed 
 at his own extravagance. (IX. 450.) His great talents and 
 singular success. 
 
 155. AGUSTIN MORETO. (N. Ant. Nov. I. 177. Huerta, 
 Teatro Hespanol, Parte prirnera, Tom. HI. p. 159.) Pub- 
 lished plays 1654 entered a religious house. His Dra- 
 mas are found : Primera Parte de Comedias de D. Agustin 
 Moreto y Cabana. 1. 4to. 1677. Segunda Parte, &c. 1676. 
 Tercera Parte, &c. 1681 ; and separate plays. His char- 
 acter as a dramatist. His fools and buffoons. El Desden 
 8
 
 58 
 
 con d Desden. (Primera parte, 41.) Moliere's Princesse 
 d'Elide. J^opuede ser guardar una mujer. (II. 1.) El 
 secreto entre dos Amigos. (III. 378.) Imitator both of 
 Lope and Calderon. 
 
 156. JUAN BAUTISTADE DIAMANTE. (N. Ant. Nov. I. 646.) 
 Published, Comedias 2. 4to. 1670-1674. Became a 
 member of a religious house. His Reyna Maria Estuarda. 
 (11.417.) His Cerco de Zamora. (II. 206.) His De- 
 fensor del Penon. (I. 1.) Merits. 
 
 157. FRANCISCO DE ROXAS. (N. Ant. Nov. I. 470. 
 Huerta, Teat. Hesp. Parte Prim. II. 3.) Knight of St. 
 Jago native of Castille. Comedias de D. Francisco de 
 Roxas, 2. 4to. 1680. Donde hay agravios no hay Zelos. 
 (I. 43.) Scarron's Jodelet ou le Maitre Valet. Del Rey 
 abaxo, ninguno. (Not published in the collection.) Char- 
 acter. 
 
 158. ANTONIO DE SOLIS. (Mayans y Siscar, Cartas I 
 242, sqq.) b. July 18, 1610, at Alcala. Studied at Sala- 
 manca. Wrote a play at 17. Wrote his Gitanilla (Come- 
 dias de Solis. 4to. 1716. p. 308.) taken from the tale of 
 Cervantes, before 1632. (Para Todos, 544.) 1642, his 
 Orfeo y Euridice (Comedias, p. 68.) Secretary to Philip 
 IV. His Triunfos de Amor y Fortuna. (ib. 1.) 1668, 
 becomes a priest. Died very poor 1686. (cf. ^ 206.) 
 Nine dramas. El Amoral Uso. (Comedias, 107.) Thomas 
 Corneille's L' Amour a la Mode. El Alcazar del Secreto. 
 (ib. 147.) Las Amazonas. (ib. 188.) Merits as a Poet. 
 
 $ 159. FRANCISCO BANZES CANDAMO. (Life, Poesias Liricas 
 de D. Francisco Banzes Candamo, 1. 18no. 1709,)
 
 59 
 
 b. 1662. popularity and fashion pension poverty neg- 
 lect d. 1704. Singular fate of his heroic Poem on the 
 Expedition of Charles V. to Africa. (Huerta, Teat. Parte 
 tercera, I. 196.) His lyrical poetry. His Dramas Poesias 
 Comicas de D. Francisco Banzes Candamo, 2. 4to. 1722. 
 His Esclavo en grilles de Oro. (II. 179.) His Desgraciado 
 Marias (II. 436.) Character. 
 
 160. ANTONIO DE ZAMORA an actor secretary in the office 
 for the Indies. Gentleman of the Royal household, &c. 
 (Pellicer, II. 67.) fl. as a writer 1690. Comedias de D. 
 Antonio de Zamora, 2. 4to. 1744. JVo ay dueda que no 
 se pague y combidado de Piedra. (II. 267.) from Tirso de 
 Molina. His merits,. 
 
 161. JOSEPH DE CAnizAREs, fl. 1700. (Huerta Teat. Hesp. 
 Parte primera, II. 347.) Twenty two separate plays 
 compounded out of elder dramas. His claims. 
 
 162. Other writers since 1640 ALARCON, CANCER, MATOS 
 FRAGOSO, FERNANDEZ DE LEON, LOBERA, &zc. &c. 
 
 163. Vast number of dramas in this class produced between 
 the appearance of Lope and the beginning of the xviii. 
 century. Their peculiar characteristics, and remarkably 
 national tone and spirit. 
 
 B. COMEDIAS DE FIGURON. 
 
 164. Their distinctive claims. MORETO. Defuera vendra, 
 quien de casa nos cchara. La Tia y la Sobrina, 1654. 
 (Comedias de Moreto, I. 83.) His Lindo Don Diego. 
 (Comedias, II.) ROXAS. Entre Bobos anda el Juego,*1680. 
 (Comedias de Roxas, II. 42.) Hoz. El Castigo de la 
 Miseria. (Huerta Teat. Hesp. Parte primera, I. 3.)
 
 GO 
 
 % 
 
 SOLIS. Un Bobo hace ciento. (Comediasde Soils, p. 263.) 
 El Diablo Predicador written by DAMIANO CORNEJO, 
 (I. Pellicer, 184, note.) Its great success. ZAMORA. El 
 hechizado por fuerza. (Comedias de Zamora, I. 99.) 
 CAIHZARES. Domine JLucas. General remarks on the 
 Figuron Dramas. 
 
 C. LOAS, ENTREMESES, SAYNETES, XACARAS, 
 ZARABANDAS, AND ZARZUELAS. 
 
 165. LOAS. Their characteristics. Bartolomc Torres de 
 Naharro (cf. ^ 32.) used Loas. Lope de Vega. (Obras 
 suelt. XVIII. 1. 256. 107. 212, &c.) Tirso de Molina, 
 1624. (Cigarrales de Toledo, 100. 403. 495.) Luis 
 Quinones de Benevente 1645. (Joco-Seria, Burlas Veras, 
 
 I. 12mo. 1653.) Six loas of great spirit. Calderon, 
 1650-1680. (Autos passim, and especially II. 134. III. 
 365, &c.) Soils. (Comedias, p. 263.) Candamo. (Come- 
 dias, I. 50.) 
 
 166. ENTREMESES and SAYNETES (Joco-seria &c. f. 5. b.) 
 Remains of the ancient popular theatre of the time of 
 Lope de Rueda. (Discurso critico sobre las comedias, 4to. 
 1750. p. 107. written by Thomas Zavaleta, D. Quixote, 
 Pellicer I. clxxvi.) Lope de Vega's account of them. (Obras 
 suelt. IV. 407.) Used as Entreraeses from about 1590. 
 Cervantes eight, 1615. (Comedias 2. 8vo.) Quinones y 
 Benevente, 1645. (Joco-Seria &c. I. 12mo. 1653.) Cal- 
 deron, Moreto, &tc. Solis, (Comedias, p. 54.) Candamo. 
 ^Cornedias, I. 36. II. 41.) Canizares, 1723. (Pellicer, 
 
 II. 42.)
 
 61 
 
 167. XACARAS, known from the time of Lope de Rueda. 
 (Rojas, Viage, 1614, 48. b.) Specimens Joco-seria, ff. 35. 
 75. 109. 240. Cubillo, Enano de las Musas, 4to. 1654. 
 139. 
 
 168. ZARABANDAS, 1588-1630. (D. Quixote, Ed. Pellicer, 
 I. cliii.) Don Alonso-El Caballero, &c. (ib. V. 101.) 
 Their general character and purpose. (Pellicer, Origen. 
 
 I. 102. 
 
 169. ZARZUELAS. Their characteristics. Lope's Selva 
 sin Amor, 1639. (Obras suelt. I. xiv. 225.) Benevente, 
 twenty four, 1645. (Joco-seria, passim.) Name given to 
 them. (Luzan, Arte poetica, II. 33.) Candamo writes them. 
 (Comedias, IV. 150. J. 177.) Establishment of the Italian 
 Opera, 1705 (Pellicer, II. 268,) supersedes them. 
 
 170. Extremely POPULAR CHARACTER OF THE SPANISH 
 THEATRE. Its actors, and their Autor or head. (II. Luzan, 
 13.) Play bills posted by the autor. (Joco-seria, 78.) 
 Performances, morning and afternoon. (I. Pellicer, 83. 
 220. 225. 254. 263.) Open court yard. (ib. 254. Luzan, 
 
 II. 14.) Value of seats. (I. Pellicer, 255.) The Loa, how 
 given. (Joco-seria, 81. 43. 117. 153.) Play, Entremeses 
 and Ballads, with the Saynete. (I. Pellicer, 277.) Cos- 
 tumes, (ib. 252.) Women, (ib. 255.) Officers of Justice. 
 {Huerta, Parte segunda, I. viii.) Audiences, from 1600, 
 rude. (Pellicer, I. 211, 254. Cervantes, Prologo. Lope, 
 Prologo, XXIV.) How entirely national and popular these 
 forms of the drama were made.
 
 D. AUTOS SACKAMKNTALES AND COMEDIAS DE 
 SANTOS. 
 
 171. AUTOS SACRAMENTALES. Origin. (^ 26, 27.) Muni- 
 cipal regulation of 15C8. (Jovellanos, diversiones publicas, 
 1812, p. 53.) 1600. (D. Quixote, parte I. c. 12.) Their 
 religious character and importance. (Pellicer, I. 257-264.) 
 Lope de Vega, 1598. (Obras sueltas, V. 144.) Luis Vdtz 
 de Guebara Antonio Mir a de Mescua Montalvan, 1632, 
 (Para Todos, p. 343. 325.) Coarse Entremeses added to 
 them. (Lope Obr. suelt. xviii.) Tirso de Molina; his 
 Deleytar Aprovechando 2. 4to. 1765, first printed 1635 ; 
 its plan and character; its strange Autos. (I. 161. II. 297. 
 Attempt to restrict autos. (Don Quixote, Pellicer, IV. 
 105. n.) Fails. Calderori's unrivalled success in Autos. 
 (Autos Sacramentales de P. Calderon de la Barca, 6. 4to. 
 Madrid, 1759.) Seventy three. His Divino Orfeo. (IV. 
 236.) Candamo. Solis. Inez de la Cruz, 1689. (Poemas 
 de Sor. Inez de la Cruz, 3. 4to. 1725.) Her Divino 
 Narciso. (I. 337.) The popularity of the Autos. Cal- 
 deron's pay for them. Solis acted all over the country 
 (D. Quix. II. c. 11.) by strolling players. (Rojas, Viage, 
 51. b.) Not abolished till 1765 by a decree of Charles 
 HI. (Huerta, Obras, II. xliii.) 
 
 172. COMEDIAS DE SANTOS. Their origin. Attempt to 
 suppress the theatre 1587. (Pellicer 1. 119.) Lope. 
 $ 128.) Petition of 1598, and conference of 1600. (Pel- 
 licer, I. 122. 151.) characteristics of the comedias de 
 santos. Luis Vdtz de Guebara, 1615. La Corte del 
 Demonio. (Comedias nuevas, 1667, 1. 4to.) Los Tres 
 Portentos de Dios. Guillen de Castro, fl. 1620. His 
 Maravillas de BabUonia. (Flor de Comedias. 1. 4to.
 
 63 
 
 1652. Montalvan, 1630. His Principe Don Carlos, cf. 
 Story in Llorente, III. 136. 142, &c. Success of such 
 Dramas, 1644-1649. (Pellicer, I. 218. 221. II. 135. 
 D. Quixote, IV. 110. note.) Moreto, 1650. Diamante, 
 1670. Roxas, 1680. Cubillo. His Triunfos de San 
 Miguel. (Enano de las Musas, p. 101.) Zamora, 1690. 
 Canizares. His A qual mejor, circa 1611. Such pieces 
 represented also in the convents and churches. (Roxas, 
 Viage, 49, a. Pellicer, I. 226.) Their character. 
 
 173. IMPORTANCE OF THE NATIONAL SPANISH DRAMA. 
 State of the publick Theatres 1590. 1632. 1681. (Don 
 Quixote, Ed. Pel. IV. 110. Roxas, 51. Pellicer, I. 185. 
 226 ) Number of authors and dramas immense. Popu- 
 lar character and consequence, 1605. (D. Quixote, I. 
 c. 48.) Still greater, 1615. (Cervantes' Comedias, Pro- 
 logo.) Every class had its plays, 1617. (Villegas Ero- 
 ticas, 1617. 4to. II. 28.) State at the time Roxas travel- 
 led. List of writers by Lope de Vega, 1630. (Obras, 
 I. 1-221.) by Montalvan, 1632. (Para Todos, 509-548.) 
 and by Antonio about 1660. (Bib. Nov. I. II.) Little 
 effect of patronage or restraint on such a theatre. Philip 
 IV. wrote plays but did not affect the stage. His Dar la 
 vida por su dama. The purely national character of the 
 Spanish Drama. Causes of its decline. 
 
 III. LYRIC POETRY. 
 
 174. Early lyrical tendency of Spanish Poetry. Its preva- 
 lence in the time of Charles V. George Montemayor. 
 (Cancionero de George Montemayor, I. 12mo. 1588.) 
 Pedro de Padilla. (Thesoro de Varias Poesias. (I. 12mo. 
 1587.) Christoval de Castillejo. (Coleccion de Fernandez.
 
 64 
 
 Xll. XIII.) Anastasio de Pantahon. (Obras, I. 12mo. 
 1648. cf. El Fenix de Pellicer, 1630. f. 190.) Francisco 
 de Figueroa. (Col. de Fernandez, xx.) When these 
 writers flourished. Superficial character of their poetry. 
 Its general effect. 
 
 175. Herrera and Luis de Leon. cf. ^ 91-95. 
 
 176. THE TWO ARGENSOLAS. LUPERCIO LEONARDO Y 
 ARGENSOLA, b. 1565. (Fernandez Col. I. Latassa, Bib. 
 Nuev, II. 461.) His Tragedies, ^ 36. Historiographer 
 of Aragon. Secretary to Count de Lemos. d. 1613. 
 BARTOLOMC LEONARDO Y ARGENSOLA, b. 1566. (Latassa, 
 Bib. Nuev. II. 143.) Enters the church.' At Naples. Histori- 
 ographer, &tc. d. 1631. Similarity of their lives and char- 
 acters. Remarkable resemblance of their works. (Rimas 
 de Lupercio y del Dotor Bartolome Leonardo de Argen- 
 sola, 4to. 1634.) Their lyrical rank. Their imitation 
 of Horace. Their character. 
 
 177. JUAN DE JAUREGUI, b. circa 1570. (Sedano IX. 
 xxii.) Talent for painting as well as poetry. (Lope, Obr. 
 suelt. IV. 503.) At Rome. His translation of Tasso's 
 Amyntas, 1607. (Signorelli, VI. 13.) His portrait of 
 Cervantes, 1613. (Novelas de Cervantes, Prologo.) His 
 works, 1618. His Orfeo. (Orfeo de D. Juan de Jauregui, 
 I. 4to. 1624.) Died 1640. His translation of Lucan first 
 published, 1684. (Fernandez Col. VII. VIII.) His works. 
 Rimas de D. Juan de Jauregui, I. 4to. 1618. Ode on the 
 death of Queen Margaret, &tc. Sic. Character. 
 
 178. ESTEBAN MANUEL DE VILLEGAS. cf. his Life by 
 Vicente de los Rios (Guarinos, V. 19.) prefixed to his 
 Eroticas, &c. Madrid, 1774. 2. 8vo. b. Naxera, 1596.
 
 65 
 
 Educated a lawyer at Madrid and Salamanca. Abandons 
 letters early. His learned works. Died poor 1609. His 
 poetry Eroticas o Amatorias de D. Esteban Manuel de 
 f^illegas, 2. 4to. 1617. (cf. a notice of him by C. M. 
 Wieland in the Deutsche Merkur, 1774. V. 237, sqq.) 
 Translations of Horace and Anacreon. His Delicias. 
 Elegies. Idyls. Translations from Theocritus. His Lati- 
 nas, attempt to introduce the ancient metres, (cf. Sedano, 
 VI. 53.) Bermudez, 1577. His exquisite imitations of 
 Anacreon in the Delicias. 
 
 179. Prevalence, all over the world, of a false taste. Tn 
 England, Euphuism. In France, the Pleiades. In Italy, 
 the Marinisti. In Spain, Cultismo. 
 
 180. Luis DE GONGORA. b. Cordova, 1561. (Sedano, VII. 
 xv-xxv.) Salamanca. Mentioned by Cervantes, 1584. 
 (Galatea, 11. 284.) Becomes a priest. Goes to court, 1605. 
 (Pellicer, Vida de Cervantes, p. cxiv.) Duke de Lerma. 
 Count Duke Olivarez. d. 1627. Simplicity of his early 
 poetry. Lope's praise of him. (Obr. suelt. IV. 465.) 
 Corruption of his taste. His heroic odes. (Obras de D. 
 Luis de Gongora, &c. I. 4to. 1654. ff. 39, &c.) Ode on 
 the Armada. His Polifemo. His Soledades, the most 
 unintelligible Cultismo. Lope attacks his affectations. 
 (Obras suelt. IV. 459, &c.) Quevedo's bitter satire. (Obr. 
 1. 443. VIII. 82.) Gongora writes much in reply, which 
 has never been printed. (Royal library, Madrid, Est. M. 
 Cod. 132. 4*o.) Lope's play of Jlmistad y Obligation. 
 His Bizarrias de Belisa ; (Obr. suelt. ix. 342.) Zarate's 
 Prtsumida y Hermosa ; Preface to Montalvan's Or/eo, 
 1624. Jauregui, 1628. (Flogel, II. 303.) Quevedo's 
 Bachiller de la Torre and his edition of Luis de Leon's 
 poetry, 1631. (^ 95. and 135.) All attack this Cultismo, 
 
 9
 
 66 
 
 which was, however, not entirely crushed. Manuel de 
 Mello, Count Villamediana, Paravisino, Arteaga, &c. Com- 
 mentaries on Gongora to render him intelligible. (Para 
 Todos, 515. N. Ant. Nov. I, 812. Velazquez, Dieze, 
 252.) Calderon's satire. *;ix. Com. 432. 446.) Le Sage's 
 fine character of Gongora and his school of Cultismo. (Gil 
 Bias, Liv. vii. c. 13.) 
 
 181. Return to a simpler taste. FRANCISCO DE RIOJAS 
 d. 1659. (Rimas, Col. de Fernandez, xviii.) His Ode on 
 Italica. GERONIMO DE CANCER. (Obras, I. 4to. 1701. 
 Latassa, Bib. Nuev. III. 224.) FRANCISCO DE BORJA Y 
 ESQ.UILACHE. (Obras en verso, I. 4to. 1658.) SOLIS. 
 INES DE LA CRUZ. (Poemas, 3. 4to. 1725.) Count BER- 
 NARDINO DE REBOLLEDO. (Obras, 4. 8vo. 1778. Sedano, 
 V. xxii.) FRANCISCO BANCES Y CANDAMO. (Obras liricas. 
 I. 18mo. 1729. ^ 159 ) 
 
 182. General remarks on the three periods of Spanish 
 lyrical poetry. 
 
 IV. SATIRICAL POETRY. 
 
 183. Little success in Spain. Ballads of a satirical char- 
 acter. Boscan's Epistles, ^ 72. Mendoza, ^ 88. Cervan- 
 tes, ^ 104. The Argensolas, ^ 175. Gregorio de Morillo^ 
 1600. (Sedano, II. xii. i. 91, &tc ) Andres Rey de Art ieda, 
 1605. (Ximeno, 1. 262. Discursos y Epistolas de Arte- 
 midoro, 4to. 1605. ff. 54-91.) Quevedo. 134. Esqui- 
 lache, fc 180. (Obras 187-228.) Horatian. Terza rima. 
 Philosophical. Failure of satire in Spain.
 
 67 
 
 V. DIDACTIC POETRY. 
 
 184. Why little. Alonso el Sabio, ^ 7. Marques de 
 Saotillana, fy 62. Juan de la Cueva, 1605, Arte Poetica. 
 $ 35. Sedano, VIII. 1-68.) Pablo de Cespedes. d. 1608. 
 Arte de Pintar. (Fenandez, Col. XVIII. Diccionario de 
 Cean, I. 316-325.) Lope de Vega, Arte Poetica. (Obras 
 IV.) Rebolledo, fy 181. Selva militar y politica. (Obras II.) 
 1661. Its disappearance. 
 
 VI. BUCOLIC POETRY. 
 
 185. General remarks on bucolic poetry in Switzerland, 
 Spain and Portugal. Pastoral Ballads. Poetry of the 
 cancioneros. First dramatic poetry, ^ 29, 31. Boscan, 
 ^ 72. Garcilasso, ^ 73. Pedro de Padilla, 178. Luis 
 de Leon, 95. Francisco de Saa de Miranda, d. 1558. 
 (Obras de Doctor F. Sa de Miranda. Lisboa, 1784. 2. 
 12mo. Barbosa, Bib. Lusit. Fol. II. 251.) Villegas. 
 Lope, Medina de Medinilla, Quevedo, Vicente Espinel, 
 Esquilache, Rebolledo, Ines de la Cruz } &c. None 
 equalled Garcilasso. 
 
 VII. BALLADS. 
 
 186. The old ballad poetry (^ 13-20J never neglected. Its 
 great popularity and prevalence. Its character. Pedro de 
 Padilla, 1580-1590. (Thesoro, 337-383. Velazquez 
 Dieze, 194, &c.) Perez de Hita, 1604. (Guerras de 
 Granada, passim.) Lope. Quevedo Gongora. Esqui" 
 lache. Rebolledo. Solis f Candamo. Maintains its ancient 
 rank.
 
 V 111. ROMANTIC FICTION. 
 
 187 Romances of Chivalry, 21-25. Changed manners 
 and feelings produce different forms of fiction, 
 
 A PASTORAL ROMANCE. 
 
 188 GEORGE DE MONTEMAYOR d. 1561. (Barbosa, Bib. 
 Lusit. fol. II. 509.) His Diana Enamorada, I. 12mo. 
 1614. (first printed 1545.) Its original and singular 
 character. Jllonso Perez. Segunda Parte de la Diana 
 &c. I. 12mo. 1014. (first published 1564.) Gil Polo, 
 Diana Enamorada, &tc. I. 12mo. 1802. (first published 
 1564 ) Don Quixote, Parte I. c. 6. 
 
 189. Luis GALVEZ DE MANTALVO. El Pastor de Filida. 
 1. 12mo. 1792. (first edit. 1582.) Lopez de Enciso. 
 Desengano de Celos. 1. 12mo. 1586 Cervantes, 100. 
 Lope. 115. ( hristoval Suarez de Figueroa, 1. 12mo. 
 1781. (first edit. 1609.) Gonzalo de Cespedes. Poema 
 tragico del Espanol Gerardo, 1. 4to. 1788. (first edit. 
 1625.) Gonzalo de Saavedra. Pastores del Betis, 1. 4to. 
 1633 
 
 190. Great popularity of pastoral romance soon after 
 1600 (D. Quixote, Ed Pel. I. 63.) Its gradual decay 
 and total disappearance. 
 
 B. ROMANCES IN THE GUSTO PICARESCO. 
 
 ^191. Their national character. Mendoza's Lazarillo de 
 Tormes, 86. jWateo Meman, temp. Philip II. His life 
 at court. Writes Guzman d 1 Jllfarache, 1. 4to. 1723, 
 (first printed 1599.) Its character. Translated by Le 
 Sage. Ben Jonson's lines on it.
 
 69 
 
 192. ANDREAS PEKEZ, a Dominican monk. Cartas por 
 Mayans j Siscar, II. 312. La Picara Montanesa Justina, 
 1. 4to. 1735, (first printed 1605.) 
 
 193 VICENTE DE ESPINEL. b. 1544. Friend of Lope 
 and Cervantes. His skill in musick. (Lope Obr. suelt. VII. 
 64.) Invents Spanish decimas. d. 1634. (Sedano II. 
 xviii.) His Vida del Escudero Marcos de Obregon, 1.4to. 
 1618. History of the life of Squire Marcos de Obregon, 
 translated by Algernon Langton, 2. 8vo. Lond. 1816. Its 
 character. 
 
 194. Quevedo's Vida del Gran Tacano, 136 Jllonso At 
 
 Castillo Solorzano, fl. circa 1620. His Garduna de Sevil- 
 la, 1. 12mo. 1734, (first printed 1634.) Luis Velez de. 
 Guevara, 143. His Diablo Cojuelo, 1. 12mo. (798, 
 (first printed 1641.) Le Sage's Diable Boiteux. Alonso 
 de Solas Barbadillo. Jeronirno de Alcala Taner, &tc. 
 
 195. Remarks on the picaresque romances. Le Sage's 
 Gil Bias. Fielding's Jonathan Wilde the Great. Their 
 peculiar character 
 
 C HISTORICAL ROMANCES. 
 
 196. Small number of Spanish romances founded on his- 
 tory. Historia de las Guerras civiles de Granada, fyc. por 
 Ginez Perez de Hita, 1. 12mo. 1757, (first published 1605.) 
 Its romantic and poetical character. Another work under 
 the same title, founded on the rebellion of 1568, makes a 
 second volume of inferior merit. Translations from Cal- 
 prenede, Scudery, &c. Hisloria de Marco Jlntonio y Cleo- 
 patra, fyc.por Monso de Castillo Solorzano, 1. 12mo. 1736, 
 (first printed 1640.) Other similar attempts.
 
 70 
 D. TALES. 
 
 197. Imitated from the Italian. Timoneda, 74. Cer- 
 vantes, 103. Lope de Vega, 121. Camerino, 1623. 
 (Novelas amorosas, 1 . 4to.) Maria de Zayas. (Novelas, 
 1. 4to. 1638. Novelas y Saraos, 1. 4to. 164'.) Alonso 
 de Castillo Solorzano. (Quinta de Laura, 1. 12mo. 1649, 
 and many others.) Mariana de Carvajal y Saavedra. 
 (Novelas, &c. 1668. 1. 4to.) 
 
 198. GENERAL REMARKS on Spanish romantic fiction. 
 Why it has had so little success generally, and what circum- 
 stances favoured its success in a few instances. 
 
 IX. ELOQUENCE. 
 
 199. Gradual abolition of the Cortes leaves no place for 
 civil eloquence. Eloquence of the pulpit much injured by 
 the peculiar character of the Catholic religion in Spain. 
 Luis de Leon, ( 94) 1584. Luii de Granada, died 1588 
 (N. Ant. Bib. Nov. II. 38.) Head of the Dominicans. 
 His treatise on pulpit eloquence, 1576. Fourteen of his 
 discourses printed, 1595. Their character. 
 
 X. EPISTOLARY CORRESPONDENCE. 
 
 200 Cibdareal, 67. Pulgar, 69. Philip II. and the 
 Duke, of Mva, 1568. (Cartas recogidas por D. Giegorio 
 Mayans y Siscar, I. 63. II. 7. 9.) Santa Teresa de Jesus, 
 1570-1580. (Cartas de Sta. Teresa, &c. 4. 4 to. 1793.) 
 Antonio Perez, circa 1598 (Capmany, III. 509-589.) 
 Gongora, 1620. (Mayans y Siscar, I. 124.) Jlrgensola,
 
 71 
 
 1625. Quevedo, 1640. Antonio, 1663. (ib I. 128. 145- 
 155.161-233.) Soli*, 1680. (ib. I. 257-336.) Why we 
 have so little natural and easy epistolary correspondence in 
 Spanish. 
 
 XI. HISTORY. 
 
 201 . Guevara, 80. PERO MEXIA, Historia Imperial y 
 Cesarea, 1 fol. 1561. Its character. Florian de Ocampo 
 and Ambrosia de Morales, 1544-1578. Mendoza, 90. 
 
 202. JUAN DE MARIAN A, b. 1537. Jesuit. Travels, Rome. 
 Sicily. Paris. 1574, established at Toledo. Died 1623. 
 Hisloria General de Espana por Juan de Mariana, ,l4ma. 
 impresion, 2 fol. Madrid, 1780, (originally published in 
 Latin, 1592-1605. Translated and printed by himself in 
 Spanish, at different times, up to 1623.) Extends from 
 the first peopling of Spain to 1516, with a compressed ab- 
 stract of events to 1612. Its republican spirit. Its style. 
 Its general character. 
 
 203. BARTOLOMB LEONARDO Y ARGENSOLA, 175. His 
 Conquista de las Islas Malucas, 1. fol. 1609. History of 
 the Islands from their discovery to 1607. Its merits. 
 
 204. ANTONIO DE HERRERA, historiographer of the Indias 
 from 1596. (Muiioz, Nuevo Mundo, 1. 30.) His Historia 
 General de las Indias Occidentales, 4. fol. 1601-1615. His 
 general views. His merits. 
 
 205. GARCILASSO DE LA VEGA, the Inca. b. 1539. His 
 European education and knowledge, d Cordova, 1616. 
 His Historia de la Florida, 4. IBmo 1803, (first printed in
 
 72 
 
 1609 His Historia General del Peru, 13. 18mo. 1800, 
 (first printed IC17.) Their character. (Cf. Robertson's 
 America, 1817. III. 396.) 
 
 206. ANTONIO DE SOLIS, ^ 158. 1667, becomes a priest 
 and renounces poetry. Devotes himself to his duties as 
 Historiographer of the Indies. His Historia de la Conquis- 
 ta de Mexico, 3. 12mo. 1758, (first printed 1684.) Begins 
 with the appointment of Cortes and comes down to the 
 taking of Mexico, 1521. Its epic completeness. Its fine 
 style. The poverty of Solis. (Mayans y Siscar, Cartas I 
 288. 324.) dies 1686 
 
 207. General remarks on Spanish historical compositions. 
 
 XII. DIDACTIC PROSE. 
 
 208. Characteristics that bring didactic prose into elegant 
 literature. 
 
 $209. Luis DE GRANADA, b. 1504. d. 1588. (N. Ant. 
 Bib. Nov. 11. 38.) His Guia de Pecadores, 2. 8vo. 1781, 
 (first printed 1556.) Condemned by the Inquisition. (Llo- 
 rente, III. 123.) The condemnation remarkably reversed. 
 (Guia, &c. I. xxvii.) Its character. 
 
 210. JUAN DE LA CRUZ. b. 1542. d. 1591. Beatified 
 1674. Obras de S. Juan de la Cruz, 1. fol. 1703. His 
 Subida al Monte Carmel, and Noche escura del Alma, first 
 printed 1581. Mysticism. 
 
 211. STA. TERESA E JESUS, d. 1582. Obras de Sta. Te- 
 resa de Jesus, 2. 4to. 1793. Her Camino de la Perfec- 
 cion. Her Castillo Interior. Character of her works.
 
 73 
 
 Persecuted by the Inquisition with Juan de la Cruz. (III. 
 Llorente, 116-123.) 
 
 212. LUCAS GR.VCIAN DANTISCO. His Galateo Espanol, 
 1. I2mo. 1664, first printed 1599. AGUSTIN DE ROXAS. 
 Pellicer, II. 1-13.) His Viage entretenido, 1. 12mo, 1614, 
 first printed 1611 LORENZO GRACIAN, d. 1658, introduc- 
 ed cultismo into prose. Obras de Lorenzo Gracian, 2. 4to. 
 1669. His Criticon. His Discrete. His Agudeza y Arte 
 de Ingenio. 
 
 213. Difficulties encountered by elegant didactic prose in 
 Spain. Its decline and disappearance. 
 
 214. GENERAL REMARKS on the state of literature in Spain 
 between the abdication of Charles V. and the accession of 
 the Bourbons. Effects produced on it by the state of re- 
 ligion the ecclesiastical powers the Inquisition and the 
 government. Causes of its gradual decay. Its condition 
 during the reign of Charles II. and at the time of his death. 
 
 10
 
 EPOCH THIRD. 
 
 THE LITERATURE, THAT HAS EXISTED IN SPAIN SINCE THE 
 ACCESSION OF THE BOURBONS. 
 
 FROM ABOUT 1700 TO THE PRESENT TIME.
 
 THIRD EPOCH. 
 
 215. CHANGE in the character of Spanish literature. It 
 comes more under the influence of the court, and its suc- 
 cess depends, in a considerable degree, on the character of 
 the sovereigns, who, at different times, fill the throne. Their 
 reigns, therefore, form the most appropriate divisions, under 
 which to examine it since 1700. 
 
 PHILIP V. 1700-1746. 
 
 ^ 216. Intrigues for the succession. Charles II. dies Nov. 3, 
 1700. His will. Opposition to it. War of the succes- 
 sion. Treaty of Utrecht, 1713. (Coxe's Memoirs of the 
 Bourbon Kings of Spain, I. II. 111. 8vo.) Effect of these 
 troubles on Spanish literature. 
 
 217. Philip endeavours to patronize letters. Marquis de 
 Villena. His plan for a grand academy. (Diccion. de 
 la Academia, I. 1726. ix.-xli. Guarinos, I 13.) The 
 REAL ACADEMIA ESPAHOLA, founded Nov. 3, 1714, for 
 the improvement and cultivation of the Spanish language 
 only. 
 
 ^ 218. Dictionary undertaken. Covarruvias, Tesoro de la 
 Lengua Castellana, fol. 1611 and 1672. Etymological. 
 DICCIONARIO DE LA ACADEMIA, 6. Folios, 1726-1739.
 
 78 
 
 Its merits and defects. Preface on Orthography. Enlarg- 
 ed and made a separate work, 1742. ORTOGRAFIA DE LA 
 LENGUA CASTELLANA, &ic. octava edicion, 1. 12mo. 1815. 
 Abridgment of the Dictionary in one folio. First edition, 
 1780; fifth edition, 1817. Its value. 
 
 219. Grammar undertaken, 1740 Second attempt, 1767. 
 First printed 1771. GRAMATICA DE LA LENGUA CASTEL- 
 LANA, &zc. quarta edicion, 1. 12mo. 1796. Its merits. 
 
 220. The Academy prints different works Don Quixote 
 1782, &c. Garces Elegancia y Fuerza de la Lengua Cas- 
 tellana, 2. Svo. 1791, &c. Prizes for eloquence from 
 1777. Advantages derived from the Academy. 
 
 221. ACADEMIA REAL DE LA HisTORiA. Its origin. Roy- 
 al patent, 1738. What it has done. (Memorias de la 
 Academia, I. Proem. IV. Proem. Guarinos, I. 63-71.) 
 
 222. JDiario de los Letteratos begun 1737. The Aduana 
 Critica> 1739, fac. Soon fail. 
 
 223. Small effect produced by the patronage and encour- 
 agement of letters by Philip V. on individual authors. 
 
 224. VICENTE BACALLAR Y SANNA, Marquis of San. Fe- 
 lipe, b. in Sardinia circa 1680. Patronised by Philip V. 
 Military command. Embassy to Holland, dies 1729. 
 His Commentaries de la Guerra de Espana y Historia de 
 su Rey Felipe V. 2. 4to. 1729. Its character. 
 
 225. IGNACIO DE LUZAN. b. Zaragoza, 1702. (Latassa, 
 Bib. Nueva, V. 12-24.) Lived in Italy and Sicily 18 
 years. His studies at Bologna, Naples, and Palermo. His
 
 79 
 
 intimacy with Maffei and Metastasio. Familiarity with 
 French. Returns to Spain 1733. His translations. (Se- 
 dano, II. IV.) Fits dramas of Maffei, Metastasio, and 
 Lachaussee to the Spanish stage. His Virtud coronada, 
 1742. At Paris attached to the Spanish legation, 1747- 
 1750. Died 1754. Pension. State of things favours his 
 literary projects His Poetica, 2. 8vo. 1789, (first publish- 
 ed in folio 1734.) The Filosofia antigua poetica of Alonso 
 Lopez de Pinciano, 1. 4to. 1596. Tablas poeticas de 
 Francisco Cascales, 1. 8vo. 1616. Nueva Idea de la 
 Tragedia antigua por Giuseppe Antonio Gongales de Salas, 
 I. 4to. 1633. Luzan's Poetica more successful than these. 
 Its plan and character. 
 
 226. BENITO GERONIMO FEYJOO, b. 1676. Life by Cap- 
 many prefixed to the Teatro critico, 1778. Theological 
 and medical studies. His efforts to enlighten his country- 
 men in physical and moral science. His Teatro Critico, 8. 
 8vo. 1778-1779, first printed 1726-1739. His Cartas eru- 
 ditas y curiosas, 5 8vo. 1777, (first printed J 742-1760.) 
 Their general character. Their literary value. Feyjoo is 
 denounced to the Inquisition. (Llorente, II. 446.) His 
 great success. Died 1764. 
 
 , 227. EUGENIO GERARDO LOBO a military officer. His 
 Obras poeticas, 1. 4to. 1738. Deplorable fall of Spanish 
 poetry. 
 
 $ 228. GENERAL REMARKS on the literary character of the 
 reign of Philip V
 
 FERDINAND VI. 1716-1759. 
 
 ^ 229. What he did for the progress of knowledge. Botan- 
 ical garden. Young men sent to travel. Plan of a nation- 
 al history. The academies. 
 
 230. Luis JOSE VELAZQUEZ, b. 1722. Lives chiefly at 
 court. Imprisoned 17G6-1772. Died immediately after 
 his release. (Guarinos, VI. 139.) His different works, 
 and especially his Origines de la Poesia Castellana, 1. 4to 
 1754. Its character. 
 
 $231. REGULAR DRAMA ATTEMPTED. Cf. ante, 36. and 
 Luzan's Poetica, II. 39-42. Fame of the French stage. 
 El Sacrificio de EJlgenia by Canizares. What Luzan did 
 about 1742. AGUSTIN DE MONTIANO Y LUYANDO. His 
 Virginia, 1. 12mo. 1750, with a preface. His Athaulpho, 
 1. 12mo. 1753. Regular Tragedies. Their character. 
 
 CHARLES III. 1759-1786. 
 
 $ 232. His spirited reign at Naples. His ministers, Aranda, 
 Campomanes, and Florida Blanca. Expulsion of the Jesuits 
 from Spain 1767. Their fall 1773. His control over 
 the Inquisition. The last person burnt was a woman ac- 
 cused of witchcraft 1781. (Llorente, IV. 270.) General 
 character of his reign. 
 
 233. Jose FRANCISCO DE ISLA. Known from 1746. His 
 Fray Gerundio, 1758 1770. His fan iliar Letters. His 
 continuation of Gil Bias. Died 1781 His Historin del Fa- 
 moso Predicador Fray Gerundio de Campazas, 4. 12mo 
 1813. Its plan. Its purpose. Its success. Assailed by 
 the Inquisition. (Llorente, II. 450.) Never effectually 
 suppressed.
 
 81 
 
 234. FURTHER EFFORTS TO INTRODUCE A REGULAR DRA- 
 MA. NICOLAS FERNANDEZ DE MORATIN, b. 1737. d. 
 1780. His Desengafio al Teatro Espanol, 1. 12ino., an 
 att.ck on the old drama. His Petimetra, 1762, the first 
 Spanish comedy within the rules. His Lsucrecia, a tragedy, 
 1763. His Hormesinda, 1770. Other works. Plays re- 
 presented from 1769 at the royal country seats. Yriarte, 
 236. His translations from Destouches and Voltaire. 
 His Senorito mimado. (Obras, IV.) His Senorita inal- 
 criada. (Obras, VII.) Cadahalso, 235. His Don San- 
 cho Garcia, a tragedy, 1771. (Obras, III.) Ignacio L*o- 
 pez de dyala. His Numancia destruyda, 1775. Vicente 
 Garcia de Huerta. His Raquel, 1778. (Obras II.) Me- 
 lendez faldez, < 244. His Bodas de Camacho, 1783. 
 (Obras, 11.) Small effect of all these efforts. 
 
 235 Jose CADAHALSO. An author in 1771. His Erudi- 
 tos a la violeta. His early poetry. Ocios de mi Juven- 
 tud, 1773. His Cartas Marruetas, 1775. Rises to the 
 rank of colonel in the army. Is killed young at the seige 
 of Gibraltar, 1782. Obras de D. Jose Cadahalso, 3. 12mo. 
 1818. 
 
 236. THOMAS DE YRIARTE. b. 1752. d. 1803. A princi- 
 pal officer in the department of state. (Guarinos, VI. 190. 
 Obras de D Thomas de Yriarte, 8. 12mo. 1805.) His 
 poem on music in five cantos, 1780. His Fabulas litera- 
 rias, 1782. (Obras, I.) His controversies, dramas, &c. 
 Denounced to the Inquisition. Llorente, II. 449. 
 
 237. CAMPOMANES (Memorias de la Acad de Hist. V. 
 1-22) MAYANS Y SISCAR (Guarinos, IV. 14-50) &c. 
 Attempt to reform education. (Ib. 207) &c. &tc. 
 
 11
 
 
 CHARLES IV. 1788-1808. 
 
 238. Reign of Charles. Power of Manuel Godoy, Prince 
 of the Peace. Influence on letters. 
 
 239. RAMON DE LA CRUZ Y CANO. Popular writer of 
 short dramas and farces. Prints, Teatro o Coleccion de los 
 Saynetes y dernas Obras diamaticas de D. Ramon de la 
 Cruz y Cano, 10. 12mo. 1786-1791. Their variety, spirit, 
 and national character. 
 
 240. GASPAR MELCHOR DE JOVELLANOS. b. 1743. Gua- 
 rinos, III. 131. Holland's Life of Lope de Vega, II. 181, 
 &c. Destined for public affairs. Odes. Elegies, Trage- 
 dy. Translates first book of Paradise Lost. His Delin- 
 quente Honrado, 1773, the first Spanish sentimental come- 
 dy. Its character and success. His academic discourses. 
 His Informe en el Expediente de ^ey Agraria, 1 fol. 1795. 
 His Memoria'sobre las Diversiones publicas, (1796) 1. 8vo. 
 1812. His Pany Toros, 1796. Suppressed. Minister of 
 Grace and Justice. Loses his place in eight months because 
 he attempts reforms. Intrigues of the Inquisition against him. 
 (Llorente, II. 540. IV. 122.) His disgraceful exile to 
 Majorca, 1801. His sufferings. His return in 1808 on 
 the breaking out of the revolution. (Southey's War in the 
 Peninsula, 4to. I. 175, 293.) His constitution broken 
 down. President of the Central Junta at Seville. Retires 
 from ill health 1810. His work, called D. Caspar de Jo- 
 vellanos a sus compatriotas, 1811. Sufferings from the 
 French. Dies Nov. 1811. His elevated and irreproach- 
 able character. 
 
 241. REGULAR DRAMAS CONTINUED, NICASIO ALVAREZ DE 
 CIENFUEGOS died under French persecutions 1809. Wrote 
 five tragedies. His Condessade Castilla. (Obras poeticas de
 
 83 
 
 D. Nicasio Alvarez de Cienfuegos, 2. 12mol 1816.) LEAN- 
 DRO FERNANDEZ DE MORATIN, son of Nicholas, ^ 234. b. 
 1760. Gains a poetical prize at 19. (Guarinos, IV. 130.) 
 His Comedia nueva, 1792. Sent to travel and examine 
 foreign theatres at the expense of the government. Italy. 
 France. England. His translation of Hamlet, 1. 8vo. 
 1798. His Baron, 1803. His Mogigata, 1801. His bi 
 de las Ninas, 1805, the best of his comedies. His tranla- 
 tions from Moliere. Goes to Paris 1814. Returns to 
 Madrid 1821. Character of his comedies. 
 
 242. JOSEF DE IGLESIAS, d. 1791, jEt. 38. Poesias de D. 
 Josef de Iglesias, 2. l2mo. 1798. Eclogues, odes, &ic. 
 Imitator of Quevedo. 
 
 243. MANUEL Jose DE QUINTANA. Officer in the depart- 
 ment of state secretary of the Cortes and Regency of 
 1812 thrown into prison by Ferdinand VII. 1814 releas- 
 ed 1821. His Poesias, 1. 12mo. 1802. His Vidas de 
 Espanoles celebres, 1. 12mo. 1807. His collection of 
 Spanish poetry, 3. 12mo. 1807. His character. 
 
 244. JUAN MELENDEZ VALPCS. (Guarinos, IV. 53. Llo- 
 rente, II. 455.) Native of Estremadura. Professor at 
 Salamanca. Officer of Justice. Joins the French in 1808. 
 Exiled 1814. Died at'Montpelier 1817. Poesias de D. 
 Juan Meltndez V aides, 3. 12mo. 1817, (6rst printed 1785- 
 1797.) Anacreontics, ballads, pastorals, songs, &tc. Their 
 great beauty. 
 
 245. JUAN DE ESCOI^UIZ, b. 1762. (Biog. des Vivans, 
 11. 53 i ; Southey's War, vol. I. passim.) Educated at the 
 court of Charles III. Enters the church. Tutor to the 
 Prince of the Asturias, Ferd. VII. Exiled from court. 
 Called in at the affair of the Escurial 1807. Takes part
 
 34 
 
 in the revolutions at Aranjuez and Bayonne 1808. Detain- 
 ed in France 1808-1814. Ferdinand disgraces him 1815. 
 Comes to Madrid 1821. His translations of Young and 
 Milton. His Mexico conquistada, 3. 8vo. 1798, an epic 
 in twenty-six cantos. A poem on the same subject, bj 
 Francisco Ruiz de Leon, called Hernandia, 1. 4to. 1755, 
 a deplorable failure. Character of the poem of Escoiquiz. 
 
 246. JUAN BAUTISTA Munoz, d. 1799. His Historia del 
 nuevo Mundo 1 8vo. 1793, a fragment. Academical 
 troubles concerning it. (Memories de la Acad. I. Ixv. sqq.) 
 Its merits. 
 
 247. General confusion and troubles of the end of the reign 
 of Charles IV. Escurial. Aranjuez. Bayonne. 
 
 FERDINAND VII. 1808. 
 
 248. King's captivity till 1814. Changes since. The 
 great excitement of the national revolution begun in 1808 
 has turned all the talent of the country into political affairs. 
 Literature almost disappears from that time. 
 
 249. CONDE DE NoRofiA member of the council of war. 
 Minister at St. Petersburg, d. 1816. His Ornmiada, 2. 
 12mo. 1816. AD epic, in blank verse. Its claims and 
 character. 
 
 250. Effects of the great changes and convulsions since 
 1808, on the literature of the country. 
 
 251. General remarks on the characteristics of the best 
 portions of Spanish literature.
 
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