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GASPAR NUREZ DE ARCE (1834—1903) , See also:Spanish poet, dramatist and statesman, was See also:born at See also:Valladolid, where he was educated for the priesthood . He had no vocation for the ecclesiastical See also:state, plunged into literature, and produced a See also:play entitled Amer y Orgullo which was acted at See also:Toledo in 1849 . To the displeasure of his See also:father, an See also:official in the See also:post See also:office, the youth refused to enter the See also:seminary, and escaped to See also:Madrid, where he obtained employment on the See also:staff of El Observador, a Liberal newspaper . He afterwards founded El Bachiller See also:Honduras, a See also:journal in which he advocated a policy of Liberal concentration, and he attracted sufficient See also:notice to justify his See also:appointment as See also:governor of Logrono, and his nomination as See also:deputy for Valladolid in 1865 . He was imprisoned at See also:Caceres See also:NUPE for his violent attacks on the reactionary See also:ministry of See also:Narvaez, acted as secretary to the revolutionary See also:Junta of See also:Catalonia when See also:Isabella was dethroned, and wrote the " Manifesto to the Nation " published by the provisional See also:government on se 26th of See also:October 1868 . During the next few years he practically withdrew from See also:political See also:life till the restoration, when he attached himself to See also:Sagasta's party . He served under Sagasta as See also:minister for the colonies, the interior, the See also:exchequer and See also:education; but See also:ill-See also:health compelled him to resign on the 27th of See also:July 189o, and henceforth he refused to take office again . He was elected to the Spanish See also:Academy on the 8th of See also:January 1874 and was appointed a life-senator in 1886 . He died at Madrid on the 12th of See also:February 1903 . See also:Nunez de Arce first came into notice as a dramatist, and he remained faithful to the See also:stage for nearly a See also:quarter of a See also:century . In addition to three plays written in collaboration with See also:Antonio Hurtado, he produced z Quien es el autor ? (1859), La Cuenta del Zapalero (1859), !See also:Como se empena un maridol (186o), Deudas de la honra (1863), Ni See also:Canto ni tan poco (1865), Quien debe, gaga (1867) and El haz de See also:lena (1872) . But Nunez de Arce+s See also:talent was more lyrical than dramatic, and his celebrity See also:dates from the See also:appearance of Gritos del combate (1875), a collection of poems exhorting Spaniards to See also:lay aside domestic quarrels and to See also:save their See also:country from anarchy, more dangerous than a See also:foreign foe . He maintained his position (in popular esteem) as the only possible See also:rival of Campoamor by a See also:series of philosophic,elegiac and symbolic poems: Raimundo Lulio, Ultima lamentation de See also:Lord See also:Byron (1879), Un Idilio y una Elegia (1879), La Selva oscura (1879) and La See also:Vision de Fray Marlin (188o) . The old brilliance sets off the naturalistic observation of La Pesca (1884) and La Maruja (1886) . The See also:list of his See also:works is completed by Poems comes (1895) and lSursum Gorda ! (1900); Herndn el See also:lobo, published in El Liberal (January 23, 1881) and Luzbel remain unfinished . His strength lies in the graciousness of his vision, his sincerity and command of his See also:instrument; his weakness derives from his divided sympathies, his moods of obvious sentiment and his rhetorical facility . But at his best, as in the Grilos del combate, he is a See also:master of virile See also:music and patriotic See also:doctrine . (J . |
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