JOSE ECHEGARAY Y EIZAGUIRRE (1833– )  , See also:

• SPANISH

Spanish mathematician, statesman and dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MADRID

Madrid in See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1833, and was educated at the See also:

• GRAMMAR (from Lat. grammatica, sc. ars; Gr. ypaµ)

grammar school of See also:

• MURCIA

Murcia, whence he proceeded to the Escuela de Caminos at the See also:

• CAPITAL (i.e. capital stock or fund)
• CAPITAL (Lat. caput, head)

capital . His exemplary See also:

• DILIGENCE

diligence and unusual mathematical capacity were soon noticed . In 1853 he passed out at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of the See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of See also:

• ENGINEERS, MILITARY

engineers, and, after a brief See also:

• PRACTICAL

practical experience at See also:

• ALMERIA

Almeria and See also:

• GRANADA
• GRANADA, LUIS DE (1504-1588)

Granada, was appointed See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor of pure and applied See also:

• MATHEMATICS (Gr. /saBnµar1Kil, Sc. vOcvn or E7rlQTt'µn; from p iN.La, "learning" or "science ")

mathematics in, the school where he had lately been a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil . His Problemas de geometria analitica (1865) and Teorias modernas de la fisica unidad de See also:

• LAS

las fuerzas materiales (1867) are said to be esteemed by competent See also:

• JUDGES, THE BOOK OF

judges . He became a member of the Society of See also:

• POLITICAL

Political See also:

• ECONOMY

Economy, helped to found La Revista, and took a prominent See also:

• PART

part in propagating See also:

• FREE

Free See also:

• TRADE (O. Eng. trod, footstep, from tredan, to tread; in M. Eng. the forms teed, trod and trade appear, the last in the sense of a beaten track)
• TRADE, BOARD OF

Trade doctrines in the See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press and on the See also:

• PLATFORM (Fr. plateforme, i.e. ground plan)

platform . He was clearly marked out. for See also:

• OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office, and when the popular See also:

• MOVEMENT

movement of 1868 overthrew the See also:

• MONARCHY (Fr. monarchic, from Lat. monarchia, Gr. uovapXia, rule of one, µbvos, alone, apXi7, rule)

monarchy, he resigned his See also:

• POST

post for a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place in the revolutionary See also:

• CABINET

cabinet . Between 1867 and 1874 he acted as See also:

• MINISTER (Lat. minister, servant)

minister of See also:

• EDUCATION

education and of See also:

• FINANCE

finance; upon the restoration of the See also:

• BOURBON
• BOURBON, CHARLES, DUKE OF (149o-1527)

Bourbon See also:

• DYNASTY (Gr. &vvaareta, sovereignty, the position of a hevnori7r, lord, ruler, from SuvaaBay to be able, Suvaµas, power)

dynasty he withdrew from politics, and won a new reputation as a dramatist . As See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as 1867 he wrote La Hija natural, which was rejected, and remained unknown till 1877, when it appeared with the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of See also:

• PARA
• PARA (officially BELEM; sometimes BELEM DO PARA)

Para tal culpa tal Pena . Another See also:

• PLAY

play, La Ultima Noche, also written in 1867, was produced in 1875; but in the latter See also:

• YEAR

year Echegaray was already accepted as the successful author of El . See also:

• LIBRA (" THE BALANCE ")

Libra talonarlo, played at the Teatro de Apolo on the 18th of See also:

• FEBRUARY

February 1874, under the transparent See also:

• PSEUDONYM (Gr. >l ev&,vuµos, having a false name, ¢Evirls, false and ovoµa, name)

pseudonym of Jorge Hayaseca . Later in the same year Echegaray won a popular See also:

• TRIUMPH (triumphus)

triumph with La Esposa del vengador, in which the See also:

• GOOD, JOHN MASON (1764-1827)

good and See also:

• BAD, BCD

bad qualities—the See also:

• CLEVER

clever stagecraft and unbridled extravagance—of his later See also:

• WORK

work are clearly noticeable . From 1874 onwards he wrote, with varying success, a prodigious number of plays .

Among the most favourable specimens of his See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent may be. mentioned En el puno de la espada (1875); 0 locura o santidad (1877), . which has been translated into See also:

• SWEDISH

Swedish and See also:

• ITALIAN

Italian; En el seno de la muerte (1879), of which there exists an admirable See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German version by Fastenrath . El gran Galeoto (1881), perhaps the best of Echegaray's plays in conception and See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, has been translated into several See also:

• LANGUAGES

languages, and still holds the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage . The humorous See also:

• PROVERB (Lat. proverbium, from pro, forth, publicly, verbum, word; the Greek equivalent is irapolµia, from 7rapa, alongside, and oiµos, way, road, i.e. a wayside saying; Ger. Sprichwort)

proverb, I Piensa mal y acertards? exemplifies the author's limitations, but the See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt is interesting as an instance of ambitious versatility . His susceptibility to new ideas is illustrated in such pieces as See also:

• MARIANA, JUAN DE (1536-1624)

Mariana (1892), See also:

• MANCHA, LA (Arabic, Al Mancha, " the dry land " or "wilderness ")

Mancha que limpia (1895), El Hijo de See also:

• DON
• DON (anc. Tanais)

Don Juan (1892), and El Loco Dios (1900): these indicate a See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close study of See also:

• IBSEN, HENRIK (1828-1906)

Ibsen, and El Loco Dios more especially might be taken for an unintentional See also:

• PARODY (Gr. s-apybia, literally a song sung beside, a comic parallel)

parody of Ibsen's symbolism . Echegaray succeeded to the See also:

• LITERARY

literary See also:

• INHERITANCE

inheritance of See also:

• LOPEZ, CARLOS ANTONIO (1790-1862)

Lopez de See also:

• AYALA, DON PEDRO LOPEZ DE (1332–1407)

Ayala and of Tamayo y Bans; and though he possesses neither the poetic See also:

• IMAGINATION

imagination of the first nor the instinctive tact of the second, it is impossible to deny that he has reached a larger See also:

• AUDIENCE (from Lat. audire, to hear)

audience than either . Not merely in See also:

• SPAIN
• SPAIN (Espana)

Spain, but in every See also:

• LAND

land where Spanish is spoken, and in cities as remote from Madrid as See also:

• MUNICH (Ger. Munchen)

Munich and See also:

• STOCKHOLM

Stockholm, he has met with an appreciation in-comparably beyond that accorded to any other Spanish dramatist of See also:

• RECENT

recent years . But it would be more than usually rash to prophesy that this exceptional popularity will endure . There have been signs of a reaction in Spain itself, and Echegaray's return to politics in 1905 was significant enough . He applies his mathematics to the See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama; no writer excels him in artful construction, in the arrangement of dramatic scenes, in See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere theatrical technique, in the focusing of See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention on his See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief personages . These are valuable gifts in their way, andEchegaray has, moreover, a powerful, gloomy imagination, which is momentarily impressive . In the See also:

• DRAWING

drawing of See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character, in the invention of felicitous phrase, in the contrivance of verbal See also:

• MUSIC

music, he is deficient . He alternates between the use of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse and See also:

• PROSE

prose; and his hesitancy in choosing a See also:

• MEDIUM

medium of expression is amply justified, for the writer's prose is not more distinguished than his verse .

These serious shortcomings may explain the diminution of his See also:

• VOGUE, EUGENE MELCHIOR, COMTE DE (1848- )

vogue in Spain; they will certainly tell against him in the estimate of posterity . (J .