PICARESQUE  NOVEL) . By degrees the picaresque See also:

• ROMANCE

romance was combined with the novel of See also:

• ITALIAN

Italian origin and gave rise to a new type—See also:

• HALF

half novel of See also:

• MANNERS, CHARLES (1857– )

manners, half romance of See also:

• ADVENTURE (from Lat. res adventura, a thing about to happen)

adventure—of which the characteristic example appears to be the Marcos de Obreg6n (1618) of See also:

• VICENTE, GIL (147o-1540)

Vicente Martinez See also:

• ESPINEL, VICENTE MARTINEZ (1551-1624)

Espinel, one of the best written See also:

• WORKS

works of the 17th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . To the same class belong almost all the novels of Alonso Jeronimo de See also:

• SALAS, or SAN MARTIN DE SALAS

Salas Barbadillo, Luiz Velex de See also:

• GUEVARA, ANTONIO DE (c. 1490-1544)
• GUEVARA, LUIS VELEZ DE (1579-1644)

Guevara and Francisco See also:

• SANTOS

Santos's popular pictures of See also:

• LIFE

life in See also:

• MADRID

Madrid, See also:

• DIET

Diet y noche de Madrid (1663), Periquillo, el de See also:

• LAS

las gallineras, &c . On the other See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand, the novels of Tirso de See also:

• MOLINA, LUIS (1535-1600)

Molina (Los Cigarrales de See also:

• TOLEDO
• TOLEDO, COUNCILS OF (Concilia toletana)

Toledo, 1624), See also:

• PEREZ, ANTONIO (c. 1540-1611)

Perez de See also:

• MONTALBAN, JUAN PEREZ DE (1602–1638)

Montalban (See also:

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

Para todos, 1632), Maria de Zayas (Novelas, 163; 1647), are more in the manner of the Novelas exemplares of Cervantes, and consequently of the Italian type . Among the so-called See also:

• HISTORICAL

historical romances one only deserves to be mentioned-the Guerras civiles de See also:

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

Granada (1595—1604) by Gilles Perez de See also:

• HITA, GINES PEREZ DE (1544?-16o5?)

Hita, which deals with the last years of the See also:

• KINGDOM

kingdom of Granada and the insurrection of the See also:

• MOORS (Lat. Mauri; Gr. Mavpot, dark men)
• MOORS, KABYLES, MZABITES

Moors of the See also:

• ALPUJARRAS, or ALPUXARRAS, THE (Moorish al Busherat, " the grass-land ")

Alpujarras in the See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time of See also:

• PHILIP
• PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
• PHILIP, JOHN (1775-1851)
• PHILIP, KING (c. 1639-1676)
• PHILIP, LANOGRAVE OF HESSE (1504-1567)

Philip II . See also:

• DON
• DON (anc. Tanais)

Don Quixote (1605-1615), the masterpiece of Cervantes, is too See also:

• GREAT

great a See also:

• WORK

work to be treated with See also:

• ETHERS

ethers; and, moreover, it does not fall strictly within the limits of any of the classes just mentioned . If it has to be defined, it may be described as the social romance of Lyric See also:

• POETRY

Poetry . 16th and 17th century See also:

• SPAIN
• SPAIN (Espana)

Spain . Cervantes undoubtedly owed much to his predecessors, notably to the few picaresque romancers who came before him, but he considerably enlarged the See also:

• SCOPE (through Ital. scopo, aim, purpose, intent, from Gr. o'KOaos, mark to shoot at, aim, o ic07reiv, to see, whence the termination in telescope, microscope, &c.)

scope of the type and strengthened the framework of the See also:

• STORY, JOHN (c. 1510-1571)
• STORY, JOSEPH (1779-1845)
• STORY, ROBERT HERBERT (1835-1907)
• STORY, WILLIAM WETMORE (1819—1895)

story by a lofty moral See also:

• IDEA (Gr. Ibia, connected with i&eiv, to see; cf. Lat. species from specere, to look at)

idea . His See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main purpose was not so much to ridicule the books of See also:

• CHIVALRY (O. Fr. chevalerie, from Late Lat. caballerius)

chivalry, which were already out of See also:

• FASHION (adapted from Fr. facon, agon, Lat. factio, making, facere, to do or make)

fashion by his time, but to show by an example pushed to absurdity the danger of those prejudices of pure See also:

• BLOOD

blood and nobler See also:

• RACE

race with which three-fourths of the nation were imbued, and which, by the scorn of all useful labour which they involved, were destined to bring Spain to ruin . The See also:

• LESSON (through Fr. lecon from Lat. lectio, reading; legere, to read)

lesson is all the more effective, as Cervantes's See also:

• HIDALGO
• HIDALGO (a Spanish word, contracted from hijo d'algo or hijo de algo, son of something, or somewhat)

hidalgo, although ridiculous, was not put beyond the See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale of the reader's sympathy, and the author condemns only the exaggeration of the chivalrous spirit, and not true courage and devotion when these virtues have a serious See also:

• OBJECT

object . What happened to Guzman de Alfarache happened to Don Quixote .

In 1614 a sDUrious second See also:

• PART

part of the adventures of Don Quixote made its See also:

• APPEARANCE (from Lat. apparere, to appear)

appearance; Cervantes was thus roused from inactivity, and the following See also:

• YEAR

year gave to the See also:

• WORLD

world the true second part, which instantly eclipsed Avellaneda's See also:

• IMITATION (Lat. imitatio, from intitari, to imitate)

imitation . The See also:

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

stage in the 17th century in some measure took the See also:

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

place of the romances of the previous See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age; it is, as it were, the See also:

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

Drama of See also:

• MEDIUM

medium of all the memories, all the passions, 17th and all the aspirations of the See also:

• SPANISH

Spanish See also:

• PEOPLE

people . Its Century. See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, being that of the popular poetry, made it accessible to the most illiterate classes, and gave it an immense range of subject . The See also:

• BIBLE
• BIBLE, ENGLISH

Bible, the lives of ,the martyrs, See also:

• NATIONAL

national traditions, the See also:

• CHRONICLES, BOOKS OF

chronicles of See also:

• CASTILE, or CASTILLE (Castilla)

Castile and See also:

• ARAGON, or ARRAGON (in Span. Aragon)

Aragon, See also:

• FOREIGN

foreign histories and novels, even the daily incidents of See also:

• CON

con-temporary Spanish life, the escapades and nightly brawls of students, the gallantries of the Calle See also:

• MAYOR (Lat. major, greater)
• MAYOR, JOHN EYTON BICKERSTETH (1825– )

Mayor and the Pradc of Madrid, See also:

• BALCONY (Ital. balcone from balco, scaffold; cf. O. H. Ger. balcho, beam, Mod. Ger. Balken, Eng. balk)

balcony escalades, See also:

• SWORD (0. Eng. sweord; ultimately from an Indo-European root meaning to wound)

sword-thrusts and See also:

• DAGGER

dagger-stabs, duels and murders, fathers befooled, jealous 'ladies, pilfering and cowardly valets, inquisitive and sprightly waiting-maids, sly and tricky peasants, fresh See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country girls—all are turned to dramatic See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account . The enormous See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of plays with which the literature of this See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period is inundated may be divided into two great classes--.See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular and religious; the latter may be sub-divided into (1) the liturgical See also:

• PLAY

play, i.e. the auto either sacra-See also:

• MENTAL

mental or al nacimiento, and (2) the comedia divina or the comedia de santos, which has no liturgical See also:

• ELEMENT (Lat. elementum)

element, and differs from a secular play only in the fact that the subject is religious and frequently, as one of the names indicates, derived from the See also:

• BIOGRAPHY (from the Gr. (3ios, life, and yp&4 , writing)

biography of a See also:

• SAINT (lat. sanctus, " holy ")

saint . In the secular drama, See also:

• CLASSIFICATION (Lat. classis, a class, probably from the root cal-, cla-, as in Gr. icaMce, clamor)

classification might be carried almost to any extent if the nature of the subject be taken as the criterion . It will be sufficient to distinguish the comedia (i.e. any tragic or comic piece in three acts) according to the social types brought on the stage, the equipment of the actors, and the artifices resorted to in the See also:

• REPRESENTATION

representation We have (1) the comedia de capa y espada, which represents everyday incident, the actors belonging to the See also:

• MIDDLE

middle class, See also:

• SIMPLE

simple caballeros, and consequently wearing the garb of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• TOWN

town life, of which the See also:

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

chief items were the cloak and the sword; and (2) the comedia de teatro or de ruido, or again, de tramoya or de aparencias (i.e. the theatrical, spectacular or scenic play), which has See also:

• KINGS, FIRST AND SECOND BOOKS OF

kings and princes for its dramatis personae and makes a great display of See also:

• MECHANICAL

mechanical devices and decorations . Besides the comedia, the classic stage has also a See also:

• SERIES (a Latin word from serere, to join)

series of little pieces subsidiary to the play proper: the loa, or See also:

• PROLOGUE (from Gr. 7rpo, before, and Myer, a word)

prologue; the entremes, a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of interlude which afterwards See also:

• DEVELOPED

developed into the sainete; the baile, or See also:

• BALLET

ballet accompanied with singing; and the zarzuela, a sort of operetta thus named after the royal See also:

• RESIDENCE (Latin residere, to remain behind, to dwell, reside)

residence of La Zarzuela, where the kings of Spain had a See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre . As to the dramatic poets of the See also:

• GOLDEN

golden age, even more numerous than the lyric poets and the romancers, it is difficult to See also:

• GROUP

group them . All are more or less pupils or imitators of the great chief of the new school, Lope See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

Felix de See also:

• VEGA, GARCILASO DE LA
• VEGA, GARCILASO DE LA (1503-1536)

Vega Carpio; everything has ultimately to be brought back to him whom the Spaniards See also:

• CALL (from Anglo-Saxon ceallian, a common Teutonic word, cf. Dutch kallen, to talk or chatter)

call the See also:

• MONSTER (Lat. monstrum, from root of monere, to warn; i.e. something terrible or portentous)
• MONSTER, GEORG, COUNT ZU (1776-1844)

monster of Nature." Among Lope's contemporaries only a few poets of See also:

• VALENCIA
• VALENCIA, or VALENTIA

Valencia—Gaspar Honorat de See also:

• AGUILAR, GRACE (1816-1847)
• AGUILAR, or AGUILAR DE LA FRONTERA

Aguilar (1561-1623), Francisco Trarrega, Guillen de See also:

• CASTRO, INEZ DE (d. 1355)
• CASTRO, JOAO DE (1500-1548)

Castro, the author of the Mocedades del See also:

• CID, THE

Cid (from which See also:

• CORNEILLE, PIERRE (1606–1684)
• CORNEILLE, THOMAS (1625-1709)

Corneille derived his See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration)—formed a smallschool, as it were, somewhat less subject to the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master than that of Madrid, which could only win the See also:

• APPLAUSE (Lat. applaudere, to strike upon, clap)

applause of the public by copying as exactly as possible the manner of the great initiator . Lope See also:

• LEFT

left his See also:

• MARK
• MARK, CARL (1858– )
• MARK, GOSPEL OF ST
• MARK, ST

mark on all varieties of the comedia, but did not attain equal excellence in all . He was especially successful in the See also:

• COMEDY

comedy of intrigue (enredo), of the capa y espada class, and in dramas whose subjects are derived from national See also:

• HISTORY

history .

His most incontestable merit is to have given the Spanish stage a range and scope of which it had not been previously thought capable, and of having taught his contemporaries to invent dramatic situations and to carry on a See also:

• PLOT
• PLOT, ROBERT (164o-1696)

plot . It is true he produced little that is perfect: his prodigious fecundity and facility allowed him no time to mature his work; he wrote negligently, considered the stage an inferior See also:

• DEPARTMENT (Fr. departement, from departir, to separate into parts)

department, See also:

• GOOD, JOHN MASON (1764-1827)

good for the vulgo, and consequently did not See also:

• JUDGE (Lat. judex, Fr. juge)

judge it worthy of the same esteem as lyric or narrative poetry modelled on the Italians . Lope's first pupils exaggerated some of his defects, but, at the same time, each, according to his own See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste, widened the scope of the comedia . See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Mira de Amescua and Luis Velez de Guevara were successful, especially in tragic histories and comedias divinas . See also:

• GABRIEL (Heb. SKns, man of God)

Gabriel Tellez, better known under the See also:

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

pseudonym of Tirso de Molina, one of the most flexible, ingenious and inventive of the dramatists, displayed no less 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 in the comedy of contemporary manners than in historical drama . El Burlador de Sevilla (Don Juan) is reckoned his masterpiece; but he showed himself a much greater poet in El Vergonzoso en palacio, Don Gil de las Calzas Verdes and Marta la Piadosa . Finally Juan See also:

• RUIZ, JUAN (c. 1283-c. 1350)

Ruiz de See also:

• ALARCON, HERNANDO DE
• ALARCON, JUAN RUIZ DE (1518 ?-1639)
• ALARCON, PEDRO ANTONIO DE (1833-1891)

Alarcon the most serious and most observant of Spanish dramatic poets, success-fully achieved the comedy of See also:

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

character in La Verdad sospechosa, closely followed by Corneille in his Menteur . Most of the remaining play-writers did little but increase the number of comedias; they added nothing to the real elements of the drama . The second See also:

• EPOCH (Gr. E7roxij, holding in suspense, a pause, from E1rxav, to hold up, to stop)

epoch of the classical drama is represented mainly by Pedro See also:

• CALDERON, RODRIGO (d. 1621), COUNT OF OLIVA AND MARQUES DE LAS SIETE IGLESIAS

Calderon de la See also:

• BARCA (mod. Merj)

Barca, the Spanish dramatist who has obtained most celebrity abroad, where his pieces have been much studied and admired (perhaps extravagantly) . It is Calderon who first made See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour, or more correctly the point of honour, an essential See also:

• MOTIVE (from Lat. movere, to move)

motive in the conduct of his personages (e.g . El Medico de su honra) ; it is he also who made the comedia de capa y espada See also:

• UNIFORM

uniform even to monotony, and gave the comic " part " of the gracioso (confidential See also:

• VALET (Fr. valet; O. Fr. vaslet)

valet of the See also:

• CABALLERO, FERNAN (1796-1877)

caballero) a rigidity which it never previously possessed . There is See also:

• DEPTH

depth and poetry in Calderon, but also vagueness and See also:

• BAD, BCD

bad taste .

His most philosophic drama, La See also:

• VIDA, MARCO GIROLAMO (c. 1489-1566)

Vida es See also:

• SUMO

sumo, is a bold and See also:

• SUBLIME (Lat. sublimis, exalted)

sublime idea, but indistinct and feebly worked out; his autos sacramentales give See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of extensive theological knowledge and dexterity in dramatizing abstractions . Calderon was imitated, as Lope had been, by exaggerating his manner and perverting his excellences . Two contemporaries deserve to be cited along with him—Francisco de Rojas Zorilla, author of the See also:

• FINE

fine historic play Del Rey abajo ninguno, and Augustin Moreto, author of some pleasant comedies . Among those who worked in a less ambitious vein, mention must be made of Luis See also:

• QUINONES

Quinones de Benavente, a skilful writer of entremeses . A new manner of See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

writing appears with the revival of learning; the purely See also:

• OBJECTIVE, or OBJECT GLASS

objective style of the old chroniclers, accumulating one fact after another, without showing the logical History connexion or expressing any See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion on men or things, began to be thought puerile . An See also:

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

attempt was made to treat the history of Spain in the manner of See also:

• LIVY [Thus L1v1us] (59 B.C.—A.D: 17)

Livy, See also:

• SALLUST [Gams SALLUSTIUS CRlspus] (86–34 B.c.)

Sallust, and See also:

• TACITUS, CORNELIUS (c. 55-120)
• TACITUS, MARCUS CLAUDIUS

Tacitus, whose methods of narration were directly adopted . The 16th century, however, still presents certain chroniclers of the See also:

• MEDIEVAL

medieval type, with more erudition, precision and the promise of a See also:

• CRITICAL (in alphabetical order of authors)

critical See also:

• FACULTY (through the French, from the Lat. facultas, ability to do anything, from facilis, easy, facere, to do; another form of the word in Lat. facilitas, facility, ease, keeps the original meaning)

faculty . La Crenica See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general de Espana, by Ambrosio de Morales; the Compendia historial of Esteban de Garibay; and the Historia general de las Indias occidentales, by Antonio de See also:

• HERRERA, FERNANDO DE (c. 1534-1597)
• HERRERA, FRANCISCO (1576-1656)

Herrera, are, so far as style is concerned, continuations of the last chronicles of Castile . Jeronimo de Zurita is emphatically a See also:

• SCHOLAR, SCHOLARSHIP

scholar; no one in the 16th century knew as he did how to turn to account documents and records for the purpose of completing and correcting the narratives of the See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient chronicles; his Anales de la See also:

• CORONA (Lat. for " crown ")

corona de Aragon is a See also:

• BOOK

book of great value, though written in a laboured style . With Juan de See also:

• MARIANA, JUAN DE (1536-1624)

Mariana history ceases to be a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere compilation of facts or a work of pure erudition, and becomes a work of See also:

• ART

art . The Historia de Espana by the celebrated Jesuit, first written in Latin (1592) in the See also:

• INTEREST

interest especially of foreigners, was after-wards rendered by its author into excellent Castilian; as a general survey of its history, well planned, well written and well thought out, Spain possesses nothing that can be compared with it . Various works of less extent—accounts of more or less important episodes in the history of Spain—may take their place beside Mariana's great See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument: for example, the Guerra de Granada, by Diego Hurtado de See also:

• MENDOZA
• MENDOZA, ANTONIO HURTADO DE (1593?-1644)
• MENDOZA, DIEGO HURTADO DE (1503-1575)
• MENDOZA, PEDRO GONZALEZ DE (1428-1495)

Mendoza (a history of the revolt of the Moors of the Alpujarras under Philip II.), written about 1572, immediately after the events, but not published till 1627; the narrative of the expedition of the Catalans in the Morea in the 14th century, by Francisco de Moncada (d .

1635); that of the revolt of the same Catalans during the reign of Philip IV., by Francisco See also:

• MANUEL, EUGENE (1823–1901)
• MANUEL, JACQUES ANTOINE (1775-1827)
• MANUEL, LOUIS PIERRE (1751-1793)

Manuel de Mello, a Portuguese by See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth; and that of the See also:

• CONQUEST

conquest of See also:

• MEXICO
• MEXICO (Span. Mejico, or Mexico,)
• MEXICO, FEDERAL DISTRICT OF
• MEXICO, GULF OF

Mexico by Antonio de See also:

• SOLIS, ANTONIO DE (1610-16S6)

Solis . Each of these writers was more or less inspired by some Latin author, one preferring Livy, another Sallust, &c . Most of these imitations are somewhat See also:

• STILTED

stilted, and their artificiality in the See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long run proves as fatiguing as the heaviness of the medieval chroniclers . On the other hand, the historians of the See also:

• WARS

wars of See also:

• FLANDERS (Flem. Vlaanderen)

Flanders, such as See also:

• CARLOS, DON (1545-1568)
• CARLOS, DON (1788-1855)
• CARLOS, DON (CHARLES MARIA DE LOS DOLORES JUAN ISIDOR.E JOSEPH FRANCIS QUIRIN ANTONY MICHAEL GABRIEL RAPHAEL) (1848—1909)

Carlos Coloma, Bernardino de Mendoza, Alonso Vazquez and Francisco Verdugo, are less refined, and for that very See also:

• REASON (Lat. ratio, through French raison)

reason are more vivid and more capable of interesting us in the struggle of two races so foreign to each other and of such different See also:

• GENIUS (from Lat. genere, gignere)

genius . As for the accounts of the transatlantic discoveries and con-quests, they are of two kinds—either (I) See also:

• MEMOIRS

memoirs of the actors or -witnesses of those great dramas, as, e.g. the Historia verdadera de to conquista de la nueva Espana, by Bernal See also:

• DIAZ, NARCISSE VIRGILIO (18(38-1876)
• DIAZ, PORFIRIO (183o– )

Diaz del See also:

• CASTILLO

Castillo (1492-1581), one of the companions of See also:

• CORTES
• CORTES, HERNAN

Cortes, and the Historia de las Indias, by Bartolome de las Casas, the apostle of the See also:

• INDIANS, NORTH AMERICAN

Indians; or (2) works by professional writers, such as Francisco See also:

• LOPEZ, CARLOS ANTONIO (1790-1862)

Lopez de Gomara, See also:

• OFFICIAL (Late Lat. QJicialis, for class. Lat. apparitor, from officium, office, duty)

official historiographers who wrote in Spain on See also:

• INFORMATION (from Lat. informare, to give shape or form to, to represent, describe)

information sent to them from the newly-discovered lands . See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

Letter writers, a rather numerous See also:

• BODY

body in Spanish literature, are nearly related to the historians; in fact, letters written to be read by others than the persons addressed, or in any See also:

• CASE
• CASE, JOHN (d. 1600)

case revised afterwards, are only a method of writing history in a See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar style . Fernando del See also:

• PULGAR, HERNANDO DE (1436-c. 1492)

Pulgar appended to his Claros varones a series of letters on the affairs of his time; and in the 16th century Antonio de Guevara (d . 1544) collected, under the See also:

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

title of Epistolas familiares, his See also:

• CORRESPONDENCE
• CORRESPONDENCE (from med. scholastic Lat. correspondentia, corrcspondere, compounded of Lat. cum, with, and respond ere, to answer; cf. Fr. correspondance)

correspondence with his contemporaries, which throws a great See also:

• LIGHT

light on the See also:

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

early part of the reign of See also:

• CHARLES
• CHARLES (1270-1325)
• CHARLES (1421-1461)
• CHARLES (1525-1574)
• CHARLES (c. 1319-1364)
• CHARLES (Fr. Charles; Span. Carlos; Ital. Carlo; Ger. Karl; derived from O.H.G. Charal,latinized as Carolus, meaning originally " man ": cf. Mod.Ger., Kerl," fellow," A.S. ceorl, Mod. Eng. " churl ")
• CHARLES (KARL EITEL ZEPHYRIN LUDWIG; in Rum. CAROL)
• CHARLES [KARL ALEXANDER] (1712-1780)
• CHARLES, ELIZABETH (1828-1896)
• CHARLES, JACQUES ALEXANDRE CESAR (1746-1823)
• CHARLES, THOMAS (1755-1814)

Charles V., although it must be used with caution because of the numerous recasts it has undergone . A celebrated victim of Philip II., Antonio Perez (d . 1611), revenged himself on his master by See also:

• RELATING

relating in innumerable letters, addressed during his See also:

• EXILE (Lat. exsilium or exilium, from exsul or exul, which is derived from ex, out of, and the root sal, to go, seen in salire, to leap, consul, &c.; the connexion with solum, soil, country is now generally considered wrong)

exile to his See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends and protectors, all the incidents of his disgrace, and by selling to the ministers of See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France and See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England the secrets of the Spanish policy in which he had a hand; some of these letters are perfect specimens of urbane gallantry . See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

Philosophy is rather poorly represented in the 16th and 17th centuries in the literature of the See also:

• VERNACULAR (Lat. verna, dim. vernaculus, a slave horn in his master's house)

vernacular . The greater P611aso~hy.number of the Spanish thinkers of this epoch, whatever the school to which they belonged— scholastic, Platonic, Aristotelian or See also:

• INDEPENDENT

independent—wrote in Latin .

Ascetic and mystical authors alone made use of the vulgar See also:

• TONGUE (O. Eng. lunge)

tongue for the readier See also:

• DIFFUSION (from the Lat. diffundere; dis-, asunder, and fundere, to pour out)

diffusion of their See also:

• DOCTRINE

doctrine n;rsucise,. among the illiterate, from whose ranks many of their disciples were recruited . Luis de Granada (1504-1588), Luis See also:

• PONCE

Ponce de See also:

• LEON
• LEON, LUIS PONCE DE (1527-1591)
• LEON, MOSES BEN SI
• LEON, or LEON DE LAS ALDAMAS

Leon (1528-1598), Teresa de Jesus (1515-1582), Pedro Malon de Chaide and St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John of the See also:

• CROSS

Cross are the brighter See also:

• LIGHTS, CEREMONIAL USE OF

lights of this class of writers . Some of their books, like the Guia de pecadores of Luis de Granada, the autobiography of St See also:

• THERESA, ST (1515-1582)

Theresa, and Malon de Chaide's See also:

• CONVERSION (Lat. conversio, from convertere, to turn or ,change)

Conversion of the Magdalen (1588), have obtained a lasting success beyond the limits of the See also:

• PENINSULA
• PENINSULA (Lat. paeninsula, from paene, almost, and insula, an island)

Peninsula, and have influenced the development of See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism in France . The Spanish mystics are not only remarkable for the depth or subtlety of their thoughts and the intensity of the divine love with which they are inspired; many of them are masters of style, and some, like St John of the Cross, have composed verses which See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank with the most sublime in the See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language . A notable fact is that those who are regarded as See also:

• ILLUMINATI (Lat. illuminare)

illuminati profess the most See also:

• PRACTICAL

practical ideas in the See also:

• MATTER

matter of morality . Nothing is more sensible, nothing less ecstatic, than` the See also:

• MANUAL

manual of Moralists. domestic See also:

• ECONOMY

economy by Luis de Leon—La Perfecta casada . See also:

• LAY

Lay moralists are numerous in the 16th and 17th centuries . Some write long and heavy See also:

• TREATISES

treatises on the art of governing, the See also:

• EDUCATION

education of princes, the duties of subjects, &c . Pedro See also:

• FERNANDEZ, ALVARO
• FERNANDEZ, DIEGO
• FERNANDEZ, JOHN (Joao, Joam)
• FERNANDEZ, JUAN (fl. c. 1570)
• FERNANDEZ, LUCAS

Fernandez de See also:

• NAVARRETE, JUAN FERNANDEZ (1526-1579)
• NAVARRETE, MARTIN FERNANDEZ DE (1765–1844)

Navarrete's Conservation de monarquias, Diego de See also:

• SAAVEDRA, ANGEL DE, DUKE OF RIVAS (1791-1865)

Saavedra See also:

• FAJARDO

Fajardo's Idea de un principe cristiano, Quevedo's La Politica de Dios y gobierno de Cristo, give a correct idea of the ability which the Spaniards have displayed in this kind of didactic literature—ability of no high See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order, for the Spaniard, when he means to expound a doctrine, loses himself in distinctions and easily becomes diffuse, pedantic and obscure . But there is a kind of morality in which he indubitably excels, namely, in social See also:

• SATIRE (Lat. satira, satura; see below)

satire, which, under all its forms—See also:

• DIALOGUE

dialogue and See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

dream in the style of See also:

• LUCIAN (d. 312)
• LUCIAN [Aowaavos] (c. A.D. 120-180)

Lucian, See also:

• EPISTLE

epistle after the manner of See also:

• JUVENAL (DECIMUS JUNIUS JUVENALIS) (c. 60-140)

Juvenal, or pamphlet—has produced several masterpieces and a See also:

• HOST

host of ingenious, See also:

• CAUSTIC (Gr. rcavvraubs, burning)

caustic and amusing compositions . Juan de See also:

• VALDES, JUAN DE (c. 1500-1541)

Valdes (d . 1541), the most celebrated of the Spanish Protestants, led the way with his Didlogo de Murcurio y Carlin, where the great See also:

• POLITICAL

political and religious questions of the first half of the 16th century are discussed with admirable vigour and freedom .

The most eminent author in the department of social satire, as in those of See also:

• LITERARY

literary and political satire, is Quevedo . Nothing escapes his scrutinizing spirit and pitiless See also:

• IRONY (Gr. dipaweLa, from eipwv, one who says less than he means, eiepees, to speak)

irony . All the vices of contemporary society are remorselessly pilloried and cruelly dissected in his Suenos and other See also:

• SHORT, FRANCIS JOB (1857– )

short works . While this great satirist, in philosophy a See also:

• DISCIPLE

disciple of See also:

• SENECA

Seneca, imitates his master even in his diction, he is none the less one of the most vigorous and See also:

• ORIGINAL

original writers of the 17th century . The only serious defect in his style is that it is too full, not of figures and epithets, but of thoughts . His phrases are of set purpose charged with a See also:

• DOUBLE
• DOUBLE (from the Mid. Eng. duble, the form which gives the present pronunciation, through the Old Er. duble, from Lat. duplus, twice as much)

double meaning, and we are never sure on See also:

• READING

reading whether we have grasped all that the author meant to convey . Conceptism is the name that has been given to this refinement of thought, which was doomed in time to fall into See also:

• AMBIGUITY (Fr. ambiguite, med. Lat. ambiguitas, from Lat. ambiguus, doubtful; ambi, both ways, agere, to drive)

ambiguity; it must not be confounded with the cultism of Gongora, the artifice of which lies solely in the choice and arrangement of words . This new school, of which Quevedo may be regarded as the founder, had its Boileau in the See also:

• PERSON, OFFENCES AGAINST THE

person of Baltasar Graciran, who published his Agudeza y arte de ingenio (1642), in which all the subtleties of conceptism are reduced to an exact See also:

• CODE (Lat. codex)

code . Gracian, who had the See also:

• GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift of sententious moralizing rather than of satire, produced in his Critic6n animated pictures of the society of his own See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, while he also displayed much ingenuity in collections of political and moral aphorisms which have won him a great reputation abroad . Spanish thought as well as public spirit and all other forms of national activity began to decline towards the See also:

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

close of the 17th century . The See also:

• ADVENT (Lat. Adventus, sc. Redemptoris, " the coming of the Saviour ")

advent of the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of See also:

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

Bourbon, 18th and the increasing invasion of See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence in century. the domain of politics as well as in literature and See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science, frustrated the efforts of a few writers who had remained faithful to the pure Spanish tradition . In the hands of the second-See also:

• RATE

rate imitators of Calderon the stage sank See also:

• LOWER

lower and lower; lyric poetry, already compromised by the affected diction of Gongora, was abandoned to rhymesters who tried to make up by extravagance of style for poverty of thought .

The first symptoms, not of a revival, but of a certain resumption of intellectual See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production, appear in the department of linguistic study . In 1714 there was created, on the See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model of the French See also:

• ACADEMIES

academies, La Real Academia Espanola, intended to maintain the purity of the language and to correct its abuses . This See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy set itself at once to work, and in 1726 began the Letter Writers . publication of its See also:

• DICTIONARY

dictionary in six See also:

• FOLIO (properly the ablative case of the Lat. folium, leaf, but also frequently an adaptation of the Ital. foglio)

folio volumes, the best title of this association to the gratitude of men of letters . The Gramtitica de la lengua castellana, See also:

• DRAWN

drawn up by the academy, did not appear till 1771 . For the new ideas which were introduced into Spain as the result of more intimate relations with France, and which were in many cases repugnant to a nation for two centuries accustomed to live a self-contained life, it was necessary that authoritative See also:

• SANCTION (Lat. sanctia, from sancire, to decree or ordain)

sanction should be found . Ignacio de Luzan, well read in the literatures of See also:

• ITALY
• ITALY (Italia)

Italy and France, a disciple of Boileau and the French rhetoricians, yet not without See also:

• ACME (Gr. 6.Kµii, point)

acme originality of his own, undertook in his Poetica (1737) to expound to his See also:

• FELLOW

fellow countrymen the rules of the new school, and, above all, the principle of the famous " unities " accepted by the French stage from Corneille's day onward . What Luzan had done for letters, Benito Feyjoo, a See also:

• BENEDICTINE

Benedictine of good sense and great learning, did for the sciences . His Teatro et-Rico and Cartas eriditas y curiosas, collections of See also:

• DISSERTATIONS

dissertations in almost every department of human knowledge, introduced the Spaniards to the leading scientific discoveries of foreign countries, and helped to deliver them from many superstitions and absurd prejudices . The study of the ancient See also:

• CLASSICS

classics and the department of learned See also:

• RESEARCH (O. Fr. recerche, from recercher, re- and cercer, mod. chercher, to search; Late Lat. circare, to go round in a circle, to explore)

research in the domain of national histories and literatures had an eminent representative in Gregorio Mayans y Siscar (1699-1781), who worthily carried on the great traditions of the See also:

• RENAISSANCE, THE

Renaissance; besides See also:

• PUBLISHING

publishing good See also:

• EDITIONS

editions of old Spanish authors, he gave to the world in 1757 a Retorica which is still See also:

• WORTH
• WORTH, CHARLES FREDERICK (1825-1895)

worth consulting, and a number of learned memoirs . What may be called the liteerature d'agrement did not recover much lost ground; it would seem as if the vein had been exhausted . Something of the old picaresque novel came to life again in the Fray Gerundio of the Jesuit See also:

• ISLA, JOSE FRANCISCO DE (1703-1781)

Isla, a Romance. See also:

• BIOGRAPHICAL

biographical romance which is also and above all to the detriment, it is true, of the interest of the narrative—a satire on the follies of the preachers of the day .

The lyric poetry of this period is colourless when compared with its variegated splendour in the preceding century . Nevertheless Poetry. one or two poets can be named who possessed refinement of taste, and whose collections 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 at least show respect for the language . 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 new school is Menendez Valdes, and with him are associated Diego Gonzalez (1733-1794), Jose See also:

• IGLESIAS

Iglesias de la Casa (1748-1791), known by his letrillas, See also:

• CIENFUEGOS (originally FERNANDINA DE JAGUA)
• CIENFUEGOS, NICASIO ALVAREZ DE (1764–1809)

Cienfuegos, and some others . Among the verse writers of the 18th century who produced odes and didactic poetry it is only necessary to mention Leandro Fernandez de See also:

• MORATIN, LEANDRO ANTONIO EULOGIO MELITUN FERNANDEZ DE (176o-1828)
• MORATIN, NICOLAS FERNANDEZ DE (1737-1780)

Moratin and See also:

• QUINTANA, MANUEL JOSE (1772-1857)

Quintana, but the latter belongs rather to the 19th century, during the early part of which he published his most important works . The poverty of the period in lyric poetry is even exceeded by that of the stage . No kind of comedy or tragical drama arose to take the place of the ancient comedia, whose platitudes and absurdities of thought and expression had ended by disgusting even the least exacting portion of the public . The attempt was indeed made to introduce the comedy and the tragedy of France, but the stiff and pedantic adaptations of such writers as the See also:

• ELDER (0. Eng. ellarn; Ger. Holunder; Fr. sureau)
• ELDER (Gr. 1rpev(3iTepos)

elder Moratin, Agustin de Montiano y Luyando (1697-1764), Tomas de See also:

• IRIARTE (or YRIARTE) Y OROPESA, TOMAS DE (1750-1791)

Iriarte, See also:

• GARCIA
• GARCIA (DEL POPOLO VICENTO), MANOEL (1775-1832)

Garcia de la Huerta and the well-known economist Gaspar de See also:

• JOVELLANOS (or JovE LLANOS), GASPAR MELCHOR DE (1744-1811)

Jovellanos failed to interest the great mass of playgoers . The only dramatist who was really successful in composing on the French See also:

• PATTERN

pattern some pleasant comedies, which owe much of their See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm Lo the great purity of the language in which they are written, is Leandro Fernandez de Moratin . It has to be added that the sainete was cultivated in the 18th century by one writer of genuine talent, Ramon de la Cruz; nothing See also:

• HELPS, SIR ARTHUR (1813-1875)

helps us better to an acquaintance with the curious Spanish society of the reign of Charles IV. than the interludes of this genial and light-hearted author, who was succeeded by Juan Ignacio Gonzalez del See also:

• CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

Cast illo . The struggle of the See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

War of See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

Independence (1808-14), which was destined to have such important consequences in the 19th world of politics, exerted no immediate influence on century. the literature of Spain . One might have expected as a consequence of the rising of the whole nation against See also:

• NAPOLEON

Napoleon that Spanish writers would no longer seek their inspiration from France, and would resume the national traditions which had been broken at the end of the 17th century . But nothing of the sort occurred .

Not only the afrancesados (as those were called who had accepted the new regime), but also the most ardent partisans of the patriotic cause, continued in literature to be the submissive disciples of France . Quintana, who in his odes preached to his compatriots the See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

duty of resistance, has nothing of the innovator about him; by his education and by his literary doctrines he remains a See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man of the 18th century . The same may be said of Martinez de la See also:

• ROSA, CARL AUGUST NICHOLAS (1843-1889)
• ROSA, MONTE
• ROSA, SALVATOR (1615-1673)

Rosa, who, though less powerful and impressive, had a greater independence of spirit and a more highly trained and classical taste . And when romanticism begins to find its way into Spain and to enter into conflict with the spirit and habits of the 18th century, it is still to France that the poets and See also:

• PROSE

prose writers of the new school turn, much more than to England or to See also:

• GERMANY
• GERMANY (Ger. Deutschland)

Germany . The first decidedly romantic poet of the See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation which flourished about 1830 was the See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

duke of Rivas; no one succeeded better in reconciling the genius of Spain and the tendencies of See also:

• MODERN

modern poetry; his poem El See also:

• MORO, ANTONIO (c. 1512-1575)

Moro exposito and his drama of Don Alvaro o la fuerza del sino belong as much to the old romances and old theatre of Spain as to the romantic spirit of 1830 . On the other hand, See also:

• ESPRONCEDA, JOSE IGNACIO JAVIER ORIOL ENCARNACION DE (1808-1842)

Espronceda, who has sometimes been called the Spanish See also:

• MUSSET, LOUIS CHARLES ALFRED DE (1810-18S7)

Musset, savours much less of the See also:

• SOIL

soil than the duke of Rivas; he is a See also:

• COSMOPOLITAN (Gr. Kbvµos, world, and IroXirgs, citizen)

cosmopolitan romantic of the school of See also:

• BYRON, GEORGE GORDON BYRON, 6TH BARON (1788-1824)
• BYRON, HENRY JAMES (1834-1884)
• BYRON, HON
• BYRON, JOHN BYRON

Byron and the French imitators of Byron; an exclusively lyric poet, he did not live long enough to give full See also:

• PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof of his genius, but what he has left is often exquisite . Zorilla has a more flexible and exuberant, but much more unequal, talent than Espronceda, and if the latter has written too little it cannot but be regretted that the former should have produced too much; nevertheless, among a multitude of hasty performances, brought out before they had been matured, his Don Juan Tenorio, a new and fantastic version of the See also:

• LEGEND (through the French from the med. Lat. legenda, things to be read, from legere, to read)

legend treated by Tirso de Molina and See also:

• MOLIERE (1622-1673)

Moliere, will remain as one of the most curious specimens of Spanish romanticism . I'n the dramatic literature of this period it is noticeable that the tragedy more than the comedy is modelled on the examples furnished by the French drama of the Restoration; thus, if we leave out of account the play by Garcia Gutierrez, entitled El Trovador, which inspired See also:

• VERDI, GIUSEPPE FORTUNINO FRANCESCO (1813-1901)

Verdi's well-known See also:

• OPERA (Italian for " work ")

opera, and Los Amantes de See also:

• TERUEL

Teruel, by See also:

• HARTZENBUSCH, JUAN EUGENIO (18o6-188o)

Hartzenbusch, and a few others, all the dramatic work belonging to this date recalls more or less the manner of the professional playwrights of the See also:

• BOULEVARD (a Fr. word, earlier boulevart, from Dutch or Ger. Bollwerk, cf. Eng. " bulwark ")

boulevard theatres, while on the other hand the comedy of manners still preserves a certain originality and a genuine See also:

• LOCAL

local See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . See also:

• BRETON, BRITTON
• BRETON, JULES ADOLPHE

Breton de los Herreros, who wrote a See also:

• HUNDRED

hundred comedies or more, some of them of the first order in their kind, apart from the fact that their diction is of remarkable excellence, adheres with great fidelity to the tradition of the 17th century; he is the last of the dramatists who preserved the feeling of the ancient comedia . Mariano Jose de See also:

• LARRA, MARIANO JOSE DE (1809-1837)

Larra, a prose writer of the highest talent, must be placed beside Espronceda, with whom he has several features in See also: