See also:

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

MANUEL TAMAYO Y BAUS (1829-1898)  , See also:

• SPANISH

Spanish dramatist, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MADRID

Madrid on the 15th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1829 . He came of a See also:

• FAMILY

family connected with the See also:

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

theatre, his See also:

• MOTHER

mother being the eminent actress Joaquina Bans . It is interesting to See also:

• NOTE
• NOTE (Lat. nota, mark, sign, from noscere, to know)

note that she appeared as See also:

• GENEVIEVE, or GENOVEFA, ST (c. 422-512)

Genevieve de See also:

• BRABANT
• BRABANT, NORTH

Brabant in an arrangement from the See also:

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

French made by Tamayo when he was in his twelfth See also:

• YEAR

year . Through the See also:

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

influence of his See also:

• UNCLE

uncle, See also:

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

Antonio Gil y Zarate, See also:

• MINISTER (Lat. minister, servant)

minister of See also:

• EDUCATION

education, Tamayo's See also:

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

independence was secured by his nomination to a See also:

• POST

post in a See also:

• GOVERNMENT
• GOVERNMENT (0. Fr. governement, mod. gouvernement, O. Fr. governer, mod. gouverner, from Lat. gubernare, to steer a ship, guide, rule; cf. Gr. xv(3epvav)

government 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 . The earliest of his printed pieces, Juana de Arco (1847), is an arrangement from See also:

• SCHILLER, JOHANN CHRISTOPH FRIEDRICH VON (1759-18o5)

Schiller, and Una Aventura de See also:

• RICHELIEU, ARMAND EMMANUEL SOPHIE SEPTEMANIE DU PLESSIS
• RICHELIEU, ARMAND JEAN DU PLESSIS
• RICHELIEU, LOUIS FRANCOIS ARMAND DU PLESSIS

Richelieu, which the author has not cared to preserve, is said to be an See also:

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

imitation of See also:

• ALEXANDRE, NOEL (NATALIS ALEXANDER) (1639-1724)

Alexandre See also:

• DUVAL, ALEXANDRE VINCENT
• DUVAL, CLAUDE (1643–1670)

Duval . The See also:

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

general See also:

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

idea of his Angela (1852) was derived from Schiller's Kabale and Liebe, but the See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere is Spanish, the situations are See also:

• ORIGINAL

original, and the phrasing is Tamayo's own . His first See also:

• GREAT

great success was See also:

• VIRGINIA
• VIRGINIA, or VERGINIA
• VIRGINIA, UNIVERSITY OF

Virginia (1853), a dramatic See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay in See also:

• ALFIERI, VITTORIO, COUNT (1749-1803)

Alfieri's manner, remarkable for its ingenuity and See also:

• NOBLE, SIR ANDREW (1832- )

noble diction.' In 1854 Tamayo was expelled from his post by the new Liberal government, but was restored before See also:

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

long by Candido Nocedal, a minister who had been struck by the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man's 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 . He collaborated with Aureliano See also:

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

Fernandez-Guerra y Orbe in See also:

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

writing La Ricahembra (1854), a See also:

• HISTORICAL

historical See also:

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

drama which recalls the vigour of Lope de See also:

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

Vega . La Locura de Amor (1855), in which Juana la loca, the passionate, love-sick daughter of See also:

• ISABEL

Isabel the See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic, figures as the See also:

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

chief personage, established Tamayo's reputation as See also:

• SPAIN
• SPAIN (Espana)

Spain's leading playwright . Hija y Madre (1855) is a failure, and La Bola de Nieve (1856) is notable solely for its excellent workmanship . It is unfortunate that Tamayo's straitened means forced him to put original See also:

• WORK

work aside and to adapt pieces from the French . Examples of this sort are fairly numerous .

Lo Positivo (1862), imitated from Adrien-Augustin-See also:

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

Leon See also:

• LAYA, JEAN LOUIS (1761-1833)

Laya's Duc See also:

• JOB

Job, is well-nigh forgotten, though the Spanish version is a dexterous piece of stagecraft and contains some elements of original value . Del dicho al hecho (1864) is from La See also:

• PIERRE

Pierre de touche of Jules See also:

• SANDEAU, LEONARD SYLVAIN JULIEN [JULES] (1811-1883)

Sandeau and Emile Angier, and a pleasing 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, Mds vale See also:

• MAFIA (MAMA)

Mafia que Fuerza (1866) is a great improvement upon Mme See also:

• CAROLINE
• CAROLINE (1683-1737)

Caroline Berton's See also:

• DIPLOMATIC

Diplomatic du See also:

• MENAGE, GILLES (1613-1692)

Menage . The revolution of 1868, which cost Tamayo his post at the See also:

• SAN

San Isidro Library, is indirectly responsible for No See also:

• HAY
• HAY (a word common in various forms to Teutonic languages; cf. Ger. Heu, Dutch hooi; the root from which it is derived, meaning " to cut," is also seen in " to hew "; cf. " hoe ")
• HAY, GEORGE (1729—1811)
• HAY, GILBERT
• HAY, JOHN (1838–1905)

hay mal que See also:

• POR

por biers no venga (r868), a See also:

• CLEVER

clever arrangement of Le See also:

• FEU

Feu an See also:

• CONVENT (Lat. conventus, from convenire, to come together)

Convent, by See also:

• HENRI

Henri Murger's friend, See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore Barriere . During these seven years Tamayo produced only one original piece, Lances de Honor (1863), which turned upon the immorality of duelling, and led to a warm discussion among the public . Written in See also:

• PROSE

prose, the piece is inspired by a breath of See also:

• MEDIEVAL

medieval piety which had not been See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt in the Spanish theatre since the 17th See also:

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

century . This renascence of an old-See also:

• WORLD

world See also:

• MOTIVE (from Lat. movere, to move)

motive has induced many critics to consider Lances de Honor as Tamayo's best work, but that distinction should be accorded rather to Un Drama nuevo (1867), a See also:

• PLAY

play in which the author has ventured to See also:

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

place See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare and Yorick upon the See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene . Los Hombres de Bien (1870) was Tamayo's final contribution to the Spanish See also:

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

stage . His last years were spent in recasting his Virginia, and the result of his efforts may be read in the See also:

• POSTHUMOUS

posthumous edition of his Obras (Madrid, 1898-99) . In 1858 Tamayo was elected a member of the Spanish See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, to which he afterwards became permanent secretary; and in 1884 the Conservative minister, Alejandro Pidal y Mon, appointed him director of the See also:

• NATIONAL

National Library . He died on the loth of See also:

• JUNE

June 1898 . (J .