CHAPTER XIII

CONTEMPORARY LITERATURE

To write an account of contemporary literature is an undertaking not

less tempting than to write the history of contemporary politics.

Its productions are likely to be familiar to us; its authors have

probably expressed ideas with which we are more or less in sympathy;

and in dealing with these we are free from the burdens of authority

and tradition. On the other hand, criticism of contemporaries is so

prone to be coloured by the prejudice of sects and cliques, that the

liberal historian of the past is in danger of exhibiting himself as a

blind observer of the present, or as a ludicrous prophet of the future.

A book on current literature is often, like Hansard, a melancholy

register of mistaken forecasts. Probably no critic of 1820 would have

ventured to place Keats among the greatest poets of the world. But

the risk of failing to recognise a Keats is, in the nature of things,

very slight; and for our present purpose we are only concerned with

those who, by general admission, are among the living influences of the

moment, the chiefs of a generation which is now almost middle-aged.

No Spaniard would contest the title of the Asturian, RAMÓN DE CAMPOAMOR

Y CAMPOOSORIO (b. 1817), to be considered as the actual _doyen_ of

Spanish literature. He purposed entering the Society of Jesus in his

youth, then turned to medicine as his true vocation, and finally gave

himself up to poetry and politics. A fierce conservative, Campoamor

has served as Governor of Alicante and Valencia, and has combated

democracy by speech and pen; but he has never been taken seriously as

a politician, and his few philosophic essays have caused his orthodoxy

to be questioned by writers with an imperfect sense of humour. His

controversy with Valera on metaphysics and poetry is a manifest joke

to which both writers have lent themselves with an affectation of

profound solemnity; and it may well be doubted if Campoamor's professed

convictions are more than occasions for humoristic ingenuity.

He has attempted the drama without success in such pieces as _El

Palacio de la Verdad_ and in _El Honor_. So also in the eight cantos

of a grandiose poem entitled _El Drama Universal_ (1873) he has failed

to impress with his version of the posthumous loves of Honorio and

Soledad, though in the matter of technical execution nothing finer

has been accomplished in our day. His chief distinction, according to

Peninsular critics, is that he has invented a new poetic _genre_ under

the names of _doloras_, _humoradas_ or _pequeños poemas_ (short poems).

It is not, however, an easy matter to distinguish any one of these from

its brethren, and Campoamor's own explanation lacks clearness when

he lays it down that a _dolora_ is a dramatised _humorada_, and that

a _pequeño poema_ is an amplified _dolora_. This is to define light

in terms of darkness. An acute critic, M. Peseux-Richard, has noted

that this definition is not only obscure, but that it is an evident

afterthought.[31] The _dolora_ is the first in order of invention, and

it is also the performance upon which, to judge by his _Poética_,

Campoamor sets most value. What, then, is a _dolora_? It is, in

fact, a "transcendental" fable in which men and women, their words

and acts, are made to typify eternal "verities": a poem which aims

at brevity, delicacy, pathos, and philosophy in an ironical setting.

The "transcendental" truth to be conveyed is the supreme point:

exquisiteness of form is unimportant.

M. Peseux-Richard dryly remarks that _humoradas_ are as old as anything

in literature, and that Campoamor's exploit consists in inventing

the name, not the thing. This is true; and it is none the less true

that the writing of _doloras_ (and the rest), after the recipe of the

master, has become a plague of recent Spanish literature. Fortunately

Campoamor is better than his theories, which, if he were consistent,

would lead him straight to _conceptismo_. Doubtless, at whiles, he

condescends upon the banal, mistakes sentimentalism for sentiment,

substitutes a commonplace for an aphorism, a paradox for an epigram;

doubtless, also, he is wanting in the right national note of exaltation

and rhetorical splendour. But for all his profession of indifference to

form, he is—at his best—a most accomplished craftsman, an admirable

artist in miniature, an expert in the art of concise expression,

and, in so much, a healthy influence—though not without a concealed

germ of evil. For if in his own hands the ingenious antithesis often

reaches the utmost point of condensation, in the hands of imitators it

is degraded to an obscure conceit, a rhymed conundrum. His vogue has

always been considerable, and he is one of the few Spanish poets whose

reputation extends beyond the Pyrenees; still, he is not in any sense

a national poet, a characteristic product of the soil, and with all

his distinguished scepticism, his picturesque pessimistic pose, and his

sound workmanship, he is more likely to be remembered for a score of

brilliant apophthegms than for any essentially poetic quality.

It was as a poet that JUAN VALERA Y ALCALÁ GALIANO (b. 1827) made his

first appearance in literature in 1856. Few in Europe have seen more

aspects of life, or have snatched more profit from their opportunities.

Born at Córdoba, educated at Málaga and Granada, Valera has so enjoyed

life from the outset that his youth is now the subject of a legend.

Passing from law to diplomacy, he learned the world in the legations

at Naples, Lisbon, Rio Janeiro, Dresden, St. Petersburg; he helped

to found _El Contemporaneo_, once a journal of great influence; he

entered the Cortes, and became minister at Frankfort, Washington,

Brussels, and Vienna. His native subtlety, his cosmopolitan tact, have

served him no less in literature than in affairs. To literature he has

given the best that is in him. He has protested, with the ironical

humility in which he excels, against the public neglect of his poems;

and when one reflects upon what has found favour in this kind, the

protest is half justified. Valera's verses, falling short as they do of

inspired perfection, are wrought with curious delicacy of technique.

But his very cultivation is against him: such poems as _Sueños_ or

_Último Adiós_ or _El Fuego divino_, admirable as they are, recall the

work of predecessors. Memories of Luis de León, traces of Dante and

Leopardi, are encountered on his best page; and yet he brings with

him into modern verse qualities which, in the actual stage of Spanish

literature, are of singular worth—repose and refinement and dignity

and metrical mastery.

As a critic his diplomatic training has been a hindrance to him.

He rarely writes without establishing some ingenious and suggestive

parallel or pronouncing some luminous judgment; but he is, so to say,

in fear of his own intelligence, and his instinctive courtesy, his

desire to please, often stay him from arriving at a clear conclusion.

His manifold interests, the incomparable beauty of his style, his wide

reading, his cold lucidity, are an almost ideal equipment for critical

work. Expert in ingratiation as he is, his suave complaisance becomes

a formidable weapon in such a performance as the _Cartas Americanas_,

where excessive urbanity has all the effect of commination: you set the

book down with the impression that the writers of the South American

continent have been complimented out of existence by a stately courtier.

But whatever reserves may be made in praising the poet and the critic,

Valera's triumph as a novelist is incontestable. Mr. Gosse has so

introduced him to English readers as to make further criticism almost

superfluous. Valera, for all his polite scepticism, is a Spaniard of

the best: a mystic by intuition and inheritance, a doubter by force of

circumstances and education. He himself has told us in the _Comendador

Mendoza_ how _Pepita Jiménez_ came into life as the result of much

mystic reading, which held him fascinated but not captive; and were we

to accept his humorous confession literally, we should take it that he

became a novelist by accident. It is, however, true that when he wrote

_Pepita Jiménez_ he still had much to learn in method. Writers with not

a tithe of his natural gift would have avoided his obvious faults—his

digressions, his episodes which check the current of his story. But

_Pepita Jiménez_, whatever its defects, is of capital importance in

literary history, for from its publication dates the renaissance of

the Spanish novel. Here at last was a book owing nothing to France,

taking its root in native inspiration, arabesquing the motives of Luis

de Granada, León, Santa Teresa, displaying once more what Coventry

Patmore has well described as "that complete synthesis of gravity of

matter and gaiety of manner which is the glittering crown of art, and

which, out of Spanish literature, is to be found only in Shakespeare,

and even in him in a far less obvious degree."

And Valera has continued to progress in art. In construction, in depth,

in psychological insight, _Doña Luz_ exceeds its predecessor, as the

_Comendador Mendoza_ outshines both in vigour of expression, in tragic

conception, in pathetic sincerity. _Las Ilusiones del Doctor Faustino_

has found less favour with critics and with general readers, perhaps

because its humour is too refined, its observation too merciless, its

style too subtle. Nor is Valera less successful in the short story,

and in the dialogue, in which sort _Asclepigenia_ may be held for an

absolute masterpiece in little. His work lies before us, complete for

all purposes; for though he still publishes for our delight, advancing

age compels him to dictate instead of writing—a harassing condition

for an artist whose talent is free from any touch of declamation. It

is hard for us who have undergone the spell of Prospero, who have

been fascinated by his truth and grace and sympathy, to judge him

with the impartiality of posterity. But we may safely anticipate its

general verdict. It may be that some of his improvisations will lack

durability; but these are few. Valera, like the rest of the world, is

entitled to be judged at his best, and his best will be read as long as

Spanish literature endures; for he is not simply a dexterous craftsman

using one of the noblest of languages with an exquisite delicacy

and illimitable variety of means, nor a clever novelist exercising

a superficial talent, nor even (though he is that in a very special

sense) the leader of a national revival. He is something far rarer

and more potent than an accomplished man of letters: a great creative

artist, and the embodiment of a people's genius.

A less cosmopolitan, but scarcely less original talent is that of

JOSÉ MARÍA DE PEREDA (b. 1834), who comes, like so many distinguished

Spaniards, from "the mountain." Born at Polanco, trained as a civil

engineer in his province of Santander, Pereda was—and, perhaps, still

is, theoretically—a stout Carlist, an intransigent ultramontane whose

social position has enabled him to despise the politics of expediency.

His earliest essays in a local newspaper, _La Abeja Montañesa_,

attracted no attention; nor was he much more fortunate with his

amazingly brilliant _Escenas Montañesas_ (1864). Fernán Caballero,

and a gentle sentimentalist now wholly forgotten, Antonio Trueba

(1821-89), satisfied readers with graceful insipidities, beside which

the new-comer's manly realism seemed almost crude. The conventional

villager, simple, Arcadian, and impossible, held the field; and

Pereda's revelation of unveiled rusticity was esteemed displeasing,

unnecessary, inartistic. He had to educate his public. From the outset

he found a few enthusiasts to appreciate him in his native province;

and, by slow degrees, he succeeded in imposing himself first upon the

general audience, and then, with much more difficulty, upon official

critics. It is commonly alleged against him that even in his more

ambitious novels—in _Don Gonzalo González de la Gonzalera_, in _Pedro

Sánchez_, where he deals with town life, and in _Sotileza_, which

is salt with the sea—his personages are local. The observation is

intended as a reproach; but, in truth, Pereda's men and women are only

local as Sancho Panza and Maritornes are local—local in particulars,

universal as types of nature. His true defects are his tendency to

abuse his knowledge of dialect, to insist on a moral aim, to caricature

his villains. These are spots on the sun. On the whole, he pictures

life as he sees it, with unblenching fidelity; his people live and

move; and—not least—he is a master of nervous, energetic phrase. No

writer outdoes him as a landscape-painter in rendering the fertile

valleys, the cold hills, the vexed Cantabrian sea, to which he returns

with the intimate passion of a lover.

The representative of a younger school is BENITO PÉREZ GALDÓS (b.

1845), who left the Canary Islands in his nineteenth year with the

purpose of reading law in Madrid. A brief trial of journalism, previous

to the revolution of 1868, led to the publication of his first novel,

_La Fontana de Oro_ (1870), and since 1873 he has shown a wondrous

persistence and suppleness of talent. His _Episodios Nacionales_

alone fill twenty volumes, and as many more exist detached from that

series. He has composed the modern national epic in the form of novels:

novels which have for their setting the War of Independence, and the

succeeding twenty years of civil combat; novels in which not less than

five hundred characters are presented. Galdós is in singular contrast

with his friend Pereda. The prejudiced Tory has educated his public;

the Liberal reformer has been educated by his contemporaries. Galdós

has always had his fingers on the general pulse; and when the readers

in the late seventies wearied of the historico-political novel, Galdós

was ready with _La Familia de León Roch_, with _Gloria_, and with

_Doña Perfecta_, in which the religious difficulty is posed ten years

before _Robert Elsmere_ was written. His third stage of development is

exampled in _Fortuna y Jacinta_, a most forcible study of contemporary

life. A prolific inventor, a minute observer of detail, Galdós combines

realism with fantasy, flat prose with poetic imagination, so that

he succeeds best in drawing psychological eccentricities like Ángel

Guerra. He is perhaps too Spanish to endure translation, too prone to

assume that his readers are familiar with the minutiæ of Peninsular

life and history, and his construction, broad as it is, lacks solidity;

but that he deserves the greater part of his fame is unquestionable,

and if there be doubters, _Fortuna y Jacinta_ and _Ángel Guerra_ are at

hand to vindicate the judgment.

In all the length and breadth of Spain no writer (with the possible

exception of that slashing, incorrigible, brilliant reviewer, Antonio

de Valbuena) is better known and more feared than LEOPOLDO ALAS (b.

1852), who uses the pseudonym of Clarín. Alas is often accused of

fierce intolerance as a critic; and the charge has this much truth in

it—that he is righteously, splendidly intolerant of a pretender, a

mountebank, or a dullard. He may be right or wrong in judgment; but

there is something noble in the intrepidity with which he handles an

established reputation, in the infinite malice with which he riddles an

enemy. An ample knowledge of other literatures than his own, a catholic

taste, as pretty a wit as our days have seen, and a most combative,

gallant spirit make him a critical force which, on the whole, is

used for good. He is not mentioned here, however, as the formidable

gladiator of journalism, but as the author of one of the best

contemporary novels. _La Regenta_ (1884-1885) is, in the first place,

a searching analysis of criminal passion, marked by fine insight; and

the examination of false mysticism which betrays Ana Ozores is among

the subtlest, most masterly achievements in recent literature. Galdós

is realistic and persuasive: Alas is real and convincing. He has not

the cunning of the contriver of situations, and as he never condescends

to the novelist's artifice, he imperils his chance of popularity. In

truth, far from enjoying a vulgar vogue, _La Regenta_ has had the

distinction of being condemned by criticasters who have never read it.

_Su único Hijo_, and the collection of short stories entitled _Pipá_,

interesting and finished in detail, are of slighter substance and

value. The duties of a law professorship at the University of Oviedo,

the tasks of journalism, have occupied Alas during the last four years.

Literature in Spain is but a poor crutch, and even the popular Valera

has told us that he must perish did he depend upon his pen. Spanish men

of letters have to be content with fame. Meanwhile, it is known that

Alas is at work upon the long-promised _Esperaindeo_, in which we may

fairly hope to find a companion to _La Regenta_.

Of ARMANDO PALACIO VALDÉS (b. 1853) it can hardly be said that he

has fulfilled the promise of _Marta y María_ and _La Hermana de San

Sulpicio_. Alas, with whom Palacio Valdés collaborated in a critical

review of the literature of 1881, has succeeded in absorbing the

good elements of the modern French naturalistic school without

losing his Spanish savour. Palacio Valdés has surrendered great part

of his nationality in _Espuma_ and in _La Fe_, which might, with a

change of names, be taken for translations of French novels. He has

abundant cleverness, a sure hand in construction, a distinct power of

character-drawing, which have won him more consideration out of Spain

than in it, and he has a fair claim to rank as the chief of the modern

naturalistic school. His most distinguished rival is the Galician,

the Sra. Quiroga, better known by her maiden name of EMILIA PARDO

BAZÁN (b. 1851), the best authoress that Spain has produced during

the present century. Her earliest effort was a prize essay on Feijóo

(1876), followed by a volume of verses which I have never seen, and

upon which the writer is satisfied that oblivion should scatter its

poppy. She pleases most in picturesque description of country life and

manners in her province, of scenes in La Coruña, which she glorifies

in her writings as Marineda. Her foundation of a critical review, the

_Nuevo Teatro Crítico_, written entirely by herself, showed confidence

and enterprise, and enabled her to propagate her eclectic views on life

and art. Women have hitherto been more impressionable than original,

and Doña Emilia has been drawn into the French naturalistic current in

_Los Pazos de Ulloa_ (1886) and in _La Madre Naturaleza_ (1887). Both

novels contain episodes of remarkable power, and _La Madre Naturaleza_

is an almost epical glorification of primitive instincts. But Spain

has a native realism of her own, and it is scarcely probable that

the French variety will ever supersede it. It is as a naturalistic

novelist that the Sra. Pardo Bazán is generally known; but the fashion

of naturalism is already passing, and it is by the rich colouring, the

local knowledge, the patriotic enthusiasm, and the exact vision of such

transcripts of local scene and custom as abound in _De mi tierra_ that

she best conveys the impressions of an exuberant and even irresistible

temperament. What Pereda has accomplished for the land of the mountain

the Sra. Pardo Bazán has, in lesser measure, done for Galicia.

One must hold it against her that she should have aided in establishing

the trivial vogue of the Jesuit, LUIS COLOMA (b. 1851), whose

_Pequeñeces_ (1890) caused more sensation than any novel of the last

twenty years. Palacio Valdés has been severely censured for writing,

in _Espuma_, of "society" in which he has never moved. "What," asked

Isaac Disraeli, "what does my son know about dukes?" The Padre Coloma's

acquaintance with dukes is extensive and peculiar. Born at Jerez de

la Frontera, he came under the influence of Fernán Caballero, whom he

has pictured in _El Viernes de Dolores_, and with whom he collaborated

in _Juan Miseria_. His lively youth was spent in drawing-rooms where

Alfonsist plots were hatched; and when, at the age of twenty-three, he

joined the Society of Jesus after receiving a mysterious bullet-wound

which brought him to death's door, he knew as much of Madrid "society"

as any man in Spain. His literary mission appears to be to satirise

the Spanish aristocracy, and _Pequeñeces_ is his capital effort in

that kind. An angry controversy followed, in which Valera made one of

his few mistakes by taking the field against Coloma, who, with all his

superficial smartness, is a special pleader and not an artist. A _roman

à clef_ is always sure of ephemeral success, and readers were too

intent on identifying the originals of Currita Albornoz and Villamelón

to observe that _Pequeñeces_ was a hasty improvisation, void of plot

and character and truth and style. Certain scenes are good enough to

pass as episodical caricatures, and had the Padre Coloma the endowment

of wit and gaiety and distinction, he might hope to develop into a

clerical Gyp. As it is, he has shot his bolt, achieved a notoriety

which is even now fading, and is in a fair way to be dethroned from his

position by Vicente Blasco Ibáñez, the author of _Flor de Mayo_, and by

Juan Ochoa, the writer of _Un Alma de Dios_. These two novelists, the

rising hopes of the immediate future, are rapidly growing in repute as

in accomplishment. Narcís Oller y Moragas (b. 1846) has shown singular

gifts in such tales as _L'Escanyapobres_, _Vilaníu_, and _Viva

Espanya_. But, as he writes in Catalan, we have no immediate concern

with him here.

Of the modern Spanish theatre there is little originality to report.

Tamayo's successor in popular esteem is JOSÉ ECHEGARAY (1832), who

first came into notice as a mathematician, a political economist, a

revolutionary orator, and a minister of the short-lived republic.

Writing under the obvious anagram of Jorge Hayeseca, Echegaray first

attempted the drama so late as 1874, and has since then succeeded and

failed with innumerable pieces. He is essentially a romantic, as he

proves in _La Esposa del Vengador_ and in _Ó Locura ó Santidad_; but

there is nothing distinctively national in his work, which continually

reflects the passing fashions of the moment. His plays are commonly

well constructed, as one might expect from a mathematician applying his

science to the scene, and he has a certain power of gloomy realisation,

as in _El Gran Galeoto_, which moves and impresses; yet he has created

no character, he delights in cheap effects, and when he betakes himself

to verse, is prone to a banality which is almost vulgar. A delightfully

middle-class writer, his appreciation by middle-class audiences calls

for no special comment. It even speaks for itself.

The drama has also been attempted by GASPAR NÚÑEZ DE ARCE (b.

1834), whose _Haz de Leña_, in which Felipe II. figures, is the most

distinguished historical drama of the century, written with a reserve

and elegance rare on the modern Spanish stage. Núñez de Arce, however,

though he began with a successful play in his fifteenth year, was well

advised when he forsook the scene and gave himself to pure lyrism.

His disillusioning political experiences as Secretary of State for

the Colonies have reduced him to silence during the last few years.

He was born to sing songs of victory, to be the poet of ordered

liberty, and circumstances have cast his lot in times of disaster

and revolutionary excess. He has had no opportunity of celebrating a

national triumph, and his hopes of a golden age, to be brought about by

a few constitutional changes, have been grievously disappointed. Yet

it is as a political singer that he has won a present fame and that he

will pass onward to renown. His _Idilio_ is a rustic love story of fine

simplicity, of an impressive, pure realism which lifts it above the

common level of pastoral poems, and its sincerity, its austere finish,

are characteristic of the poet, who is always a scrupulous artist, a

passionate devotee and observer of nature, as he has proved once more

in _La Pesca_. In _Raimundo Lulio_, Núñez de Arce's superb execution

is displayed with a superb result which almost tempts the coldest

reader into pardoning the confusion of two separate themes—allegory

and amorism. But a political poet he remains, and the famous _Gritos

de Combate_ (1875), in which he denounces anarchy, pleads for freedom

and for concord, with a civic courage beyond all praise, is a lasting

monument in its kind. Modern Castilian shows no poetic figure to

compare with him, and the only promises of our time are Jacinto

Verdaguer and Joan Maragall, two Catalan singers who fall without our

limit.

The present century has produced no great Spanish historian, though

there has been an active movement of historical research, headed

by scholars like Fidel Fita, specialists like Cárdenas, Azcárate,

Costa, Pérez Pujol, Ribera, Jiménez de la Espada, Fernández Duro,

and Hinojosa, all of whom have produced brilliant monographs, or

have accumulated valuable materials for the Mariana of the future.

In criticism also there has been a marked advance of scholarship and

tolerance, thanks to the example of MARCELINO MENÉNDEZ Y PELAYO (b.

1856), whose extraordinary learning and argumentative acuteness were

first shown in his _Ciencia Española_ (1878), and his _Historia de

los Heterodoxos Españoles_ (1880-81). Since then the slight touch of

acerbity, of provincial narrowness, has disappeared, the writer's

talent has matured, and, starting as the standard-bearer of an

aggressive party, anxious to recover lost ground, his sympathies have

widened as his erudition has taken deeper root, till at the present

moment he is accepted by his ancient foes as the most sagacious and

accomplished of Spanish critics. His _Odas, Epístolas y Tragedias_, is

a signal instance of technical excellence in versification, containing

as good a version of the _Isles of Greece_ as any foreigner has

achieved. But, after all, it is not as poet, but as critic, as literary

historian, that he is hailed by his countrymen as a prodigy. He has,

perhaps, undertaken too much, and the editing of Lope de Vega may cause

the _Historia de las Ideas Estéticas en España_ to remain an unfinished

torso; but his example and influence have been wholly exercised

for good, and are evident in the excellent work of the younger

generation—the work of Emilio Cotarelo y Mori, of Rafael Altamira

y Crevea, of Ramón Menéndez Pidal. It would be a singular thing if

the bright, improvident Spain, which to most of us stands for the

embodiment of reckless romanticism, were to produce a race of writers

of the German type, a breed absorbed in detail and minute observation;

and as a nation's genius is no more subject to change than is the

temperament of individuals, the development may not come to pass. But,

as the century closes, the tendency inclines that way.

FOOTNOTES:

[31] See the _Revue hispanique_ (Paris, 1894), vol. i. pp. 236-257.

BIBLIOGRAPHICAL NOTE

George Ticknor's great _History of Spanish Literature_ (Boston, 1872)

is the widest survey of the subject; it should be read in the Castilian

version of Pascual de Gayangos and Enrique de Vedia (1851-56),[32] or

in the German of Nikolaus Heinrich Julius (Leipzig, 1852), both of

which contain valuable supplementary matter. Ludwig Gustav Lemcke shows

taste and learning and independence in his _Handbuch der spanischen

Literatur_ (Leipzig, 1855-56). On a smaller scale are Eugène Baret's

_Histoire de la littérature espagnole_ (1863), the volume contributed

by Jacques Claude Demogeot to Victor Duruy's series entitled

_Histoire des littératures étrangères_ (1880), Licurgo Cappelletti's

_Letteratura spagnuola_ (Milan, 1882), and Mr. H. Butler Clarke's

_Spanish Literature_ (1893). Ferdinand Wolf's _Studien zur Geschichte

der spanischen und portugiesischen Nationalliteratur_ (Berlin, 1859)

is a most masterly study of the early period; the Castilian version

by D. Miguel de Unamuno, with notes by D. Marcelino Menéndez y Pelayo

(1895-96), corrects some of Wolf's conclusions in the light of recent

research. The _Darstellung der spanischen Literatur im Mittelalter_

(Mainz, 1846), by Ludwig Clarus, whose real name was Wilhelm Volk, is

learned and suggestive, though too enthusiastic in criticism. José

Amador de los Ríos' seven volumes, entitled _Historia crítica de la

literatura española_ (1861-65), end with the reign of the Catholic

Kings: an alphabetical index would greatly increase the value of this

monumental work. The Comte Théodore Joseph Boudet de Puymaigre's two

volumes, _Les vieux auteurs castillans_ (1888-90), give the facts in a

very agreeable, unpretentious way.

Among current handbooks by Spanish authors, those by Antonio Gil y

Zárate (1844), Manuel de la Revilla and Pedro de Alcántara García

(1884), F. Sánchez de Castro (1890), and Prudencio Mudarra y Párraga

(Sevilla, 1895), are well-meant, and are, one hopes, useful for

examination purposes. José Fernández-Espino's _Curso histórico-crítico_

(Sevilla, 1871) is excellent; but it ends with Cervantes' prose works,

and makes no reference to the Spanish theatre.

On the drama there is nothing to match Adolf Friedrich von Schack's

_Geschichte der dramatischen Literatur und Kunst in Spanien_ (Berlin,

1845-46) and his _Nachträge_ (Frankfurt am Main, 1854). Romualdo

Álvarez Espino's _Ensayo histórico-crítico del teatro español_

(Cádiz, 1876), containing long extracts from the chief dramatists,

is serviceable to beginners. The late Cayetano Barrera's _Catálogo

bibliográfico y biográfico del teatro antiguo español_ (1860) is

invaluable: lack of funds causes the supplement to remain "inedited."

In bibliography Castilian is richer than English. Nicolás Antonio's

_Bibliotheca Hispana Nova_ (1783-88) and _Bibliotheca Hispana Vetus_

(1788) are wonderful for their time. Bartolomé José Gallardo's _Ensayo

de una Biblioteca española de libros raros y curiosos_ (1863-89) owes

much to its editors, the Marqués de la Fuensanta del Valle and D. José

Sancho Rayón. For old editions Pedro Salvá y Mallén's _Catálogo de la

biblioteca de Salvá_ (Valencia, 1872) may be consulted. An admirable

monthly bibliography of new books is issued by D. Rafael Altamira y

Crevea in his _Revista crítica de historia y literatura españolas,

portuguesas é hispano-americanas_. Murillo's monthly _Boletín_ is a

mere sale list.

M. Foulché-Delbosc's _Revue hispanique_ and Sr. Altamira's _Revista

crítica_ are specially dedicated to our subject; the zeal and

self-sacrifice of both editors have earned the gratitude of all

students of Spanish literature. MM. Gaston Paris' and Paul Meyer's

_Romania_ frequently contains admirable essays and reviews by MM.

Morel-Fatio, Cornu, Cuervo, and others; as much may be said for Gustav

Gröber's _Zeitschrift für romanische Philologie_ (Halle), and for the

_Giornale storico della letteratura italiana_ (Torino), edited by MM.

Francesco Novati and Rodolfo Renier.

Sr. Menéndez y Pelayo's _Historia de las Ideas estéticas en España_

(1883-91) touches literature at many points, and abounds in acute

and suggestive reflections. Two treatises by M. Arturo Farinelli,

_Die Beziehungen zwischen Spanien und Deutschland in der Litteratur

der beiden Länder_ (Berlin, 1892), and _Spanien und die spanische

Litteratur im Lichte der deutschen Kritik und Poesie_ (Berlin, 1892),

are remarkable for curious learning and appreciative criticism.

The best general collection of classics is Manuel Rivadeneyra's

_Biblioteca de Autores españoles_ (1846-80), which consists of

seventy-nine volumes. Sr. Menéndez y Pelayo's _Antología de poetas

líricos castellanos_ (1890-96) is supplied with very learned and

elaborate introductions.

CHAPTER I

The _Leloaren Cantua_ and _Altobiskar Cantua_ are given, with

English renderings, in Mr. Wentworth Webster's admirable _Basque

Legends_ (1879); an exposure of the _Altobiskar_ hoax by the same

great authority is printed in the Academy of History's _Boletín_

(1883). Rafael and Pedro Rodríguez Mohedano display much discursive,

uncritical erudition in their ten-volumed _Historia literaria en

España_ (1768-85), which deals only with the early period. A recent

study (1888) on Prudentius by the Conde de Viñaza deserves mention.

Migne's _Patrologia Latina_ includes the chief Spanish Fathers. In

the fourth volume of Charles Cahier's and Arthur Martin's _Nouveaux

Mélanges d'archéologie, d'histoire, et de littérature sur le moyen âge_

(1877) there is a brilliant essay on the Gothic period by the Rev. Père

Jules Tailhan, to whom we also owe a splendid edition of the Rhymed

Chronicle, the _Epitoma Imperatorum_ (Paris, 1885), by the Anonymous

Writer of Córdoba.

For the Spanish Jews, Hirsch Grätz' _Geschichte der Juden von

den ältesten Zeiten bis auf die Gegenwart_ (Leipzig, 1865-90) is

the best guide. Salomon Munk's _Mélanges de philosophie juive et

arabe_ (1857) is not yet superseded, and Abraham Geiger's _Divan

des Castilier Abu'l Hassan Juda ha Levi_ (Breslau, 1851) contains

information not to be found elsewhere. M. Kayserling's _Biblioteca

Española—Portugeza—Judaica_ (Strassburg, 1890) is extremely valuable.

Two works by Reinhart Pieter Anne Dozy are authoritative as regards

the Arab period: the _Histoire des Mussulmans d'Espagne_ (Leyde,

1861), and the _Recherches sur l'histoire politique et littéraire

de l'Espagne pendant le moyen âge_ (1881). The first edition of the

_Recherches_ (Leyde, 1849) embodies many suggestive passages cancelled

in the reprints. Schack's _Poesie und Kunst der Araber in Spanien

und Sicilien_ (Stuttgart, 1877) is a good general survey, a little

too enthusiastic in tone; it greatly gains in the Castilian version,

made from the first edition, by D. Juan Valera (1867-71). Nicolas

Lucien Leclerc's _Histoire de la médecine arabe_ (1876) is of much

wider scope than its title implies, and may be profitably consulted

on Arab achievements in other fields. Francisco Javier Simonet states

the case against the predominance of Arab culture in the preface to

his _Glosario de voces ibéricas y latinas usadas entre los Muzárabes_

(1888). D. Julián Ribera's learned _Orígenes de la justicia en Aragón_

(Zaragoza, 1897) deals with the facts in a more judicial spirit. Of

special monographs Ernest Renan's _Averroès et l'Averroïsme_ (1866) is

a recognised classic. The greater part of the codex from the Convent of

Santo Domingo de Silos, now in the British Museum (Add. MSS. 30,853),

has been published by Dr. Joseph Priebsch in the _Zeitschrift_, vol.

xix.

As regards the Provençal influence in the Peninsula, Manuel Milá y

Fontanals' _Trovadores en España_ (Barcelona, 1887) is a definitive

work. Eugène Baret's _Espagne et Provence_ (1857) is pleasing but

superficial. Theophilo Braga's learned introduction to the _Cancioneiro

Portuguez da Vaticana_ (Lisbon, 1878) is brilliantly suggestive,

though inaccurate in detail. The counter-current from Northern France,

as it affects the epic, is treated in Milá y Fontanals' _Poesía

heróico-popular castellana_ (Barcelona, 1874).

CHAPTER II

The _Misterio de los Reyes Magos_ is most accessible in Amador de

los Ríos' _Historia_, vol. iii. pp. 658-60, and in K. A. Martin

Hartmann's dissertation, _Ueber das altspanische Dreikönnigsspiel_

(Bautzen, 1879). The Swedish scholar, Eduard Lidforss, printed the

_Misterio_ in the _Jahrbuch für romanische und englische Literatur_

(Leipzig, 1871), vol. xii., and Professor Georg Baist's diplomatic

edition appeared at Erlangen in 1879. Arturo Grafs _Studii drammatici_

(Torino, 1878) contains an interesting essay on the Magi play; M.

Morel-Fatio's article in _Romania_, vol. ix., and Baist's review in the

_Zeitschrift_, vol. iv., are both important. D'Ancona's _Origini del

teatro italiano_ (Torino, 1891) discusses the question of the play's

date with much shrewdness and caution.

The most convenient reference for the _Poema del Cid_ is to

Rivadeneyra, vol. lvii. D. Ramón Menéndez Pidal's edition (1898)

supersedes all others: next, in order of merit, come Karl Vollmöller's

(Halle, 1879), Eduard Lidforss', called _Cantares de Myo Cid_ (Lund,

1895), and Mr. Archer Huntington's (New York, 1897). The _Cantar

de Rodrigo_ is in Rivadeneyra, vol. xvi.; vol. lvii. contains the

_Apolonio_, the _Vida de Santa María Egipciacqua_, and the _Tres Reyes

dorient_. The sources of _Santa María Egipciacqua_ are indicated by

Adolf Mussafia in the _Sitzungsberichte_ of the Vienna Academy of

Sciences, vol. clxiii. For the _Disputa del Alma y Cuerpo_ see the

_Zeitschrift_, vol. lx. M. Morel-Fatio edited the _Debate entre el Agua

y el Vino_ and the _Razón feita de Amor in Romania_, vol. xvi. Most

of the foregoing may be read in extract in Egidio Gorra's excellent

anthology, _Lingua e Letteratura Spagnuola delle origini_ (Milan, 1898).

CHAPTER III

Most of the writers referred to in this chapter are included in

Rivadeneyra, vols. li. and lvii. A valuable article on Berceo by D.

Francisco Fernández y González, now Dean of the Central University,

was published in _La Razón_ (1857): a translated fragment of Berceo is

given by Longfellow in _Outre-Mer_. Gautier de Coinci's _Les Miracles

de la Sainte Vierge_ were edited by the Abbé Alexandre Eusèbe Poquet

(1857) in a somewhat prudish spirit. M. Morel-Fatio's study on the

_Libro de Alexandre_, printed in the fourth volume of _Romania_, is an

extremely thorough performance.

Alfonso's _Siete Partidas_ (1807) and the _Fuero Juzgo_ (1815) have

been issued by the Spanish Academy; his scientific work is partially

represented by Manuel Rico y Sinobas' five folios entitled _Libros

del Saber de Astronomía_ (1863-67). There is no modern edition of

his histories, and a reprint is greatly needed: the inaugural speech

of D. Juan Facundo Riaño, read before the Academy of History (1869),

traces the sources with great ability and learning. The translations

in which Alfonso shared are best read in Hermann Knust's _Mitteilungen

aus dem Eskorial_ (vol. cxli. of the publications issued by the

Stuttgart Literarischer Verein), and in Knust's _Dos Obras didácticas

y dos Leyendas_ (1878). Alfonso's _Cantigas de Santa María_ have been

published by the Spanish Academy (1889) in two of the handsomest

volumes ever printed; the Marqués de Valmar has edited the text, and

supplied an admirable introduction and apparatus.

Fadrique's _Engannos e Assayamientos de las Mogieres_ is to be sought

in Domenico Comparetti's _Ricerche intorno al libro di Sindibad_

(Milan, 1869). The questions arising out of the _Gran Conquista de

Ultramar_ are discussed by M. Gaston Paris, with his usual lucidity and

learning, in _Romania_, vols. xvii., xix., and xxii.

CHAPTER IV

Most of the poems mentioned are printed in Rivadeneyra, vol. lvii.

_Solomon's Rhymed Proverbs_ are included by Antonio Paz y Melia in

_Opúsculos literarios de los siglos XIV.-XVI._ (1892). The _Poema

de José_ has been reproduced in Arabic characters by Heinrich Morf

(Leipzig, 1883) as part of a _Gratulationsschrift_ from the University

of Bern to that of Zurich.

Juan Manuel's writings were edited by Gayangos in Rivadeneyra, vol.

li.: we owe his _Libro de Caza_ to Professor Georg Baist (Halle, 1880),

and a valuable edition of the _Libro del Caballero et del Escudero_ to

S. Gräfenberg (Erlangen, 1883). Alfonso XI.'s handbook on hunting is

given by Gutiérrez de la Vega in the third volume of the _Biblioteca

Venatoria_ (Madrid, 1879). Ayala's history forms vols. i. and ii. of

Eugenio de Llaguno Amírola's _Crónicas Españolas_ (Madrid, 1779).

CHAPTER V

The Comte de Puymaigre's _La Cour littéraire de Don Juan II._ (1873) is

an excellent general view of the subject. D. Emilio Cotarelo y Mori's

_Don Enrique de Villena_ (1896) is a very learned and interesting

study. Villena's _Arte Cisoria_ was reprinted so recently as 1879.

The _Libro de los Gatos_ and Clemente Sánchez' _Exemplos_ are in

Rivadeneyra, vol. li.; the latter were completed by M. Morel-Fatio in

_Romania_, vol. vii. Mr. Thomas Frederick Crane's _Exempla_ of Jacques

Vitry (published in 1890 for the Folk-Lore Society) will be found

useful by English readers.

Baena's _Cancionero_ (1851) was edited by the late Marqués de Pidal:

the large-paper copies contain a few loose pieces, omitted from the

ordinary edition which was reprinted by Brockhaus in a cheap form at

Leipzig in 1860. D. Antonio Paz y Melia's _Obras de Juan Rodríguez de

la Cámara_ (1884) is a good example of this scholar's conscientious

work. Amador de los Ríos' edition of the _Obras del Marqués de

Santillana_ (1852) is complete and minute in detail.

There is no good edition of Juan de Mena's works; I have found it

most convenient to use that published by Francisco Sánchez (1804).

The _Coplas de la Panadera_ will be found in Gallardo, vol. i. cols.

613-617.

Juan II.'s _Crónica_ is printed by Rivadeneyra, vol. lviii.; the

others—those of Clavijo, Gámez, Lena—are in Llaguno y Amírola's

_Crónicas Españolas_, already named. Llaguno also reprinted Pérez de

Guzmán's _Generaciones_ at Valencia in 1790.

No modern editor has had the spirit to reissue Martínez de Toledo's

_Corbacho_, nor did even Ticknor possess a copy. The edition of Logroño

(1529) is convenient. The _Visión deleitable_ is in Rivadeneyra, vol.

xxxvi. I know no later edition of Lucena's _Vita Beata_ than that of

Zamora, 1483.

CHAPTER VI

Hernando del Castillo's _Cancionero General_ should be read in the fine

edition (1882) published by the Sociedad de Bibliófilos Españoles; the

_Cancionero de burlas_ in Luis de Usoz y Río's reprint (London, 1841).

The Marqués de la Fuensanta del Valle and D. José Sancho Rayón edited

Lope de Stúñiga's _Cancionero_ in 1872. While the present volume has

been passing through the press, M. Foulché-Delbosc has, for the first

time, published the entire text of the _Coplas del Provincial_ in the

_Revue hispanique_, vol. v. The _Coplas de Mingo Revulgo_, Cota's

_Diálogo_, and Jorge Manrique's _Coplas_ are best read in D. Marcelino

Menéndez y Pelayo's _Antología_, vols. iii. and iv. An additional

piece of Cota's, discovered by M. Foulché-Delbosc, has been printed

in the _Revue hispanique_, vol. i.; and to D. Antonio Paz y Melia is

due the publication of Gómez Manrique's _Cancionero_ (1885). Iñigo

de Mendoza and Ambrosio Montesino are represented in Rivadeneyra,

vol. xxxv. Miguel del Riego y Núñez' edition of Padilla appeared

at London in 1841 in the _Colección de obras poéticas españolas_.

Pedro de Urrea's _Cancionero_ (1876) forms the second volume of the

_Biblioteca de Escritores Aragoneses_. Encina's _Teatro completo_ has

been admirably edited (1893) by Francisco Asenjo Barbieri: a suggestive

and penetrating criticism by Sr. Cotarelo y Mori appeared in _España

Moderna_ (May 1894).

Palencia is to be studied sufficiently in his _Dos Tratados_ (1876),

arranged by D. Antonio María Fabié. The _Crónica_ of Lucas Iranzo was

given by the Academy of History (1853) in the _Memorial histórico

español_. _Amadís de Gaula_ is most easily read in Rivadeneyra, vol.

xl., which is preceded by a very instructive preface, the work of

Gayangos. The derivation of the _Amadís_ romance is ably discussed

from different points of view by Eugène Baret in his _Études sur la

redaction espagnole de l'Amadis de Gaule_ (1853); by Theophilo Braga in

his _Historia das novelas portuguezas de cavalleria_ (Porto, 1873);

and by Ludwig Braunfels in his _Kritischer Versuch über den Roman

Amadís von Gallien_ (Leipzig, 1876). The fourth volume of Ormsby's _Don

Quixote_ (1885) contains an exhaustive bibliography of the chivalresque

novels, most of which are both costly and worthless. Of the _Celestina_

there are innumerable editions; the handiest is that in Rivadeneyra,

vol. iii. A reprint of Mabbe's splendid English version (1631) was

included by Mr. Henley in his _Tudor Translations_ (1894). D. Marcelino

Menéndez y Pelayo's brilliant essay on Rojas is reprinted in the second

series of his _Estudios de crítica literaria_ (1895). Bernáldez'

_Historia de los Reyes católicos_ (Granada, 1856) has been carefully

produced by Miguel Lafuente y Alcántara. Pulgar's _Claros Varones_

was inserted at the end of Llaguno y Amírola's edition of the _Centón

epistolario_ (1775). It is quite impossible to give any notion of the

immense mass of literature concerning Columbus; but anything bearing

the names of Martín Fernández de Navarrete or of Mr. Henry Harrisse is

entitled to the greatest respect.

CHAPTER VII

M. Morel-Fatio's _L'Espagne au 16^e et 17^e siécle_ (Heilbronn, 1878)

is invaluable for this period and the succeeding century. Dr. Adam

Schneider's _Spaniens Anteil an der deutschen Litteratur des 16. und

17. Jahrhunderts_ (Strassburg, 1898) is a work of immense industry,

containing much curious information in a convenient form. English

readers will find an excellent summary of the literary history of this

time in Mr. David Hannay's _Later Renaissance_ (1898).

Manuel Cañete, whose _Teatro español del siglo XVI._ (1885) is useful

but ill arranged, included a single volume of Torres Naharro's

_Propaladia_ among the _Libros de Antaño_ so long ago as 1880; the

second is still to come, and those who would read this dramatist

must turn to the rare sixteenth-century editions. Perhaps the best

reprint of Gil Vicente is that issued at Hamburg in 1834 by José

Victorino Barreto Feio and José Gomes Monteiro; a most complete

account of Vicente, his environment and influence, is given by

Theophilo Braga in the seventh volume of his learned _Historia de la

litteratura portuguesa_ (Porto, 1898). Boscán's Castilian version of

the _Cortegiano_ was reissued in 1873; the completest edition of his

verse is that published by Professor Knapp (of Yale University), issued

at Madrid in 1873. Professor Flamini's _Studi di storia letteraria

italiana e straniera_ (Livorno, 1895) contains a very scholarly essay

on the debt of Boscán to Bernardo Tasso. The poems of Garcilaso are

in Rivadeneyra, vols. xxxii. and xlii.; but a far pleasanter book to

handle is Azara's edition (1765). Benedetto Croce's study entitled

_Intorno al soggiorno di Garcilaso de la Vega in Italia_ (1894)

appeared originally in the _Rassegna storica napoletana di lettere ed

arte_ (a magazine which deserves to be better known in England than

it is). Croce's researches have been printed apart, and we may look

forward to his publishing others no less important. Jeremiah Holmes

Wiffen's biography and translation of Garcilaso (1823) are defective,

but nothing better exists in English. Few poets in the world have

been so fortunate in their editors as Sâ de Miranda. Mme. Carolina

Michaëlis de Vasconcellos' reprint (Halle, 1881), with its very learned

apparatus of introduction, notes, and variants, is a real achievement

unsurpassed in the history of editing. A fine edition of Gutierre de

Cetina has been published (Seville, 1895) with a scholarly introduction

by D. Joaquín Hazañas y la Rua. Acuña's works appeared at Madrid in

1804; his _Contienda de Ayax_ is in the second volume of López de

Sedano's _Parnaso Español_ (1778). Concerning Mendoza, the reader may

profitably turn to Charles Graux' _Essai sur les origines du fona grec

de l'Escorial_ (1880), published in the _Bibliothèque de l'École des

Hautes Études_. Professor Knapp edited Mendoza's verses in 1877: a

creditable piece of work, though inferior to his edition of Boscán.

Castillejo and Silvestre are exampled in Rivadeneyra, vol. xxxii. Of

Villegas' _Inventario_ there is no modern reprint.

Guevara is sufficiently represented in Rivadeneyra, vol. lxv.; the

English versions by Lord Berners, North, Fenton, Hellowes, and others,

are of exceptional merit and interest.

The most important historians of the Indies are reprinted by

Rivadeneyra, vols. xxii. and xxvi. Amador de los Ríos edited Oviedo for

the Academy of History in 1851-55. Very full details concerning Cortés

are given by Prescott in his classic book on Peru, and Sir Arthur

Helps' _Life of Las Casas_ (1868) is a pleasing piece of partisanship.

_Lazarillo de Tormes_ should be read in Mr. Butler Clarke's beautiful

reproduction of the _princeps_ (1897). M. Morel-Fatio's essay in the

first series of his _Études sur l'Espagne_ (1895) is exceedingly

ingenious, but, like all negative criticism, it is somewhat

unconvincing. His guess that _Lazarillo_ was written by some one

connected with the Valdés clique does not seem very happy, but even a

conjecture by M. Morel-Fatio carries great weight.

Eduard Böhmer gives a very full bibliography of Juan de Valdés in his

_Biblioteca Wiffeniana_ (Strassburg, 1874). Benjamin Barron Wiffen

had for Valdés a kind of cult which found partial expression in his

quarto _Life and Writings of Juan Valdés, otherwise Valdesio_ (1865).

But it is impossible to give more minute references to the voluminous

literature which deals with Valdés and his brother Alfonso. An

historical essay by Manuel Carrasco, published at Geneva in 1880, is

interesting as the work of a modern Spanish Protestant.

CHAPTER VIII

The Marqués de la Fuensanta del Valle's edition of Lope de Rueda

(1894) lacks an introduction, but it is in other respects as good

as possible. D. Ángel Lasso de la Vega y Arguëlles has published a

_Historia y Juicio crítico de la Escuela Poética Sevillana_ (1871),

which is useful, and even exhaustive, though far too eulogistic in

tone. The Argensolas may be conveniently studied in Rivadeneyra, vol.

xlii., which is supplemented by the Conde de Viñaza's collection of the

_Poesías sueltas_ (1889). Minor dramatists still await republication.

Herrera is easiest read in Rivadeneyra, vol. xxxii.; M. Morel-Fatio's

critical edition of the Lepanto Ode (Paris, 1893) is of great merit,

and an essay on Herrera by M. Édouard Bourciez in the _Annales de

la Faculté des lettres de Bordeaux_ (1891) is acute and suggestive.

Vicente de la Fuente is the editor of Santa Teresa's writings in

Rivadeneyra, vols. liii. and lv. The biography by Mrs. Cunninghame

Graham (1894), a work both learned and picturesque, presents rather the

woman of genius than the canonised saint. The text of the remaining

mystics will, with few exceptions, be found in Rivadeneyra, vols. vi.,

viii., ix., xxvii., and xxxii. The lesser lights exist only in editions

of great rarity.

Torre's verses are most accessible in Velázquez' edition (1753). Of

Figueroa there is no recent reprint, though a poor selection is offered

by Rivadeneyra, vol. xlii., which also includes Rufo Gutiérrez' minor

verse: his _Austriada_ is given in vol. xxix., and Ercilla's _Araucana_

in vol. xvii. The _Catálogo razonado biográfico y bibliográfico_ of

the Portuguese authors who wrote in Spanish is due (1890) to Domingo

García Peres. The Barcelona reprint (1886) of Montemôr is easily found:

Professor Hugo Albert Rennert's monograph, _The Spanish Pastoral

Romances_ (Baltimore, 1892), is extremely thorough. Zurita is best read

in the _princeps_. A new edition of Mendoza's _Guerra de Granada_ is

urgently called for, and is now being passed through the press by M.

Foulché-Delbosc. Mendoza's burlesque of Silva will be found in Paz y

Melia's _Sales Españolas_ (1890).

CHAPTER IX

Henceforward the task of the bibliographer is lighter; for, though

Cervantes, Lope, and later writers are the subjects of an enormous

mass of literature, and are reprinted in editions out of number, it

will only be necessary to name the most important. The twelve quartos

which form the _Obras Completas_ (1863-64) of Cervantes are open to

much damaging criticism; but they contain all his writings, except the

conjectural pieces gathered together by D. Adolfo de Castro in his

_Varias obras inéditas de Cervantes_ (1874). For a most exhaustive

bibliography of Cervantes' writings (Barcelona, 1895) we are indebted

to the late D. Leopoldo Rius y Llosellas: a posthumous volume is

to follow, but even in its present incomplete state Rius' book is

worth more than all previous attempts put together. Editions of _Don

Quixote_ abound, and of these Diego Clemencín's (1833-39) deserves

special mention for its very learned commentary. A new edition, in

course of issue by Mr. David Nutt (1898), presents a text freed from

arbitrary emendations which have crept in without authority. Fernández

de Navarrete's biography (1819) is still unequalled. Shelton's early

English version (1612-20) has been reprinted by Mr. Henley in his

series of _Tudor Translations_ (1896). Of later renderings John

Ormsby's (1885) is much the best, and is prefaced by a very judicious

account of Cervantes and his work. Duffield (1881) and Mr. H. E. Watts

(1894) have translated _Don Quixote_ in a spirit of enthusiasm. The

_Numancia_ (1885) and _Viaje del Parnaso_ (1883) were both admirably

rendered by the late James Young Gibson. Sr. Menéndez y Pelayo's paper

on Avellaneda appeared in _Los Lunes de El Imparcial_ (February 15,

1897).

The _Obras_ of Lope, now printing under the editorship of D. Marcelino

Menéndez y Pelayo, will be definitive; but as yet only eight quartos

(including Barrera's _Nueva Biografía_) are available. Lope's _Obras

sueltas_ (1776-79) fill twenty-one volumes; but the best reference

for readers is to Rivadeneyra, vols. xxiv., xxxv., xxxvii., xli.,

and xlii., where Lope is incompletely but sufficiently exhibited.

M. Arturo Farinelli's _Grillparzer und Lope de Vega_ (Berlin, 1894)

is most excellent. Edmund Dorer's _Die Lope-de-Vega Litteratur in

Deutschland_ (1877) is a praiseworthy compilation. Ormsby's article in

the _Quarterly Review_ (October 1894) is, as might be expected from

him, most exact and learned. I am especially indebted to it.

As to the picaresque novels, _Guzmán_ is in Rivadeneyra, vol. iii.;

the _Pícara Justina_ in vol. xxxiii., and _Marcos de Obregón_ in vol.

xviii. A thoughtful and appreciative study on Mateo Alemán has been

privately printed at Seville (1892) by D. Joaquín Hazañas y la Rua.

Antonio Pérez and Ginés Pérez de Hita are to be read in Rivadeneyra,

vols. xiii. and iii.: Mariana fills vols. xxx. and xxxi., but the two

noble folios of 1780 are in every way preferable.

CHAPTER X

The early editions of Góngora are named in the text; Rivadeneyra,

vol. xxxii., reprints him in unsatisfactory fashion, but there is

nothing better. Forty-nine inedited pieces by Góngora have been

recently published by Professor Rennert in the _Revue hispanique_,

vol. iv. Churton's essay on Góngora (1862) is learned, spirited, and

interesting. Villamediana figures in Rivadeneyra's forty-second volume:

D. Emilio Cotarelo y Mori's minute and judicious study (1886) is

extremely important. Lasso de la Vega's monograph, already cited, on

the Sevillan school, should be consulted for the poets of that group.

Villegas and the minor poets may be read in Rivadeneyra, vol. xlii.

Rioja has been admirably edited by Barrera (1867), who has supplied

a most scholarly biography and bibliography: the additional poems

issued in 1872 are more curious than valuable. Quevedo's prose works

were edited by Aureliano Fernández-Guerra y Orbe with great skill

and accuracy in Rivadeneyra, vols. xxiii. and xlviii.; his verse has

been printed in vol. lxix. by Florencio Janer, who was not the man

for the task. The new and complete edition, issued by the Sociedad de

Bibliófilos Andaluces, and edited by D. Marcelino Menéndez y Pelayo,

promises to be admirable, and will include much new matter—for

instance, a pure text of the _Buscón_. As yet but one volume (1898)

has been issued to subscribers. M. Ernest Mérimée, the author of an

excellent monograph on Quevedo (1886), has given us a critical edition

of Castro's _Mocedades del Cid_ (Toulouse, 1890). Vélez de Guevara and

Montalbán are exampled in Rivadeneyra, vol. xlv.: the prose of the

former is in vol. xviii.

Hartzenbusch's twelve-volume edition of Tirso de Molina (1839-42) is

incomplete, but it is greatly superior to the selection in Rivadeneyra,

vol. v. D. Emilio Cotarelo y Mori's monograph on Tirso (1893)

contains many new facts, stated with great precision and lucidity.

Hartzenbusch's edition of Ruiz de Alarcón in Rivadeneyra, vo. xx., is

the best and fullest.

Calderón's editions are numerous, but none are really good. Keil's

(Leipzig, 1827) is the most complete; Hartzenbusch's, which fills

vols. vii., ix., xii., and xiv. of Rivadeneyra, is the easiest to

obtain, and is sufficient for most purposes. Mr. Norman MacColl's

_Select Plays of Calderon_ (1888) deserves special mention for its

excellent introduction and judicious notes. M. Morel-Fatio's edition

of _El Mágico Prodigioso_ is a model of skill and accuracy. Two small

collections of Calderón's verse were published at Cádiz, 1845, and

at Madrid, 1881. Archbishop Trench's monograph (1880) and Miss E.

J. Hasell's study (1879) are deservedly well known. D. Marcelino

Menéndez y Pelayo's lectures, _Calderón y su Teatro_ (1881) are full of

sound, impartial criticism. Friedrich Wilhelm Valentin Schmidt's _Die

Schauspiele Calderon's_ (Elberfeld, 1857) maintains its place by virtue

of its sound and sympathetic criticism. The history of the _autos_ is

fully given by Eduardo González Pedroso in Rivadeneyra, vol. lviii.

Edmund Dorer's _Die Calderon-Litteratur in Deutschland_ (Leipzig, 1881)

is useful and unpretending. D. Antonio Sánchez Moguel's study (1881) of

the relation between the _Mágico Prodigioso_ and Goethe's _Faust_ is

learned and ingenious, and D. Antonio Rubió y Lluch's _Sentimiento del

Honor en el Teatro de Calderón_ (Barcelona, 1882) is a very suggestive

essay.

The select plays of Rojas Zorrilla and Moreto are contained in

Rivadeneyra, vols. xxxix. and liv. There exists no good edition of

Gracián: Carl Borinski's study entitled _Baltasar Gracián und die

Hoflitteratur in Deutschland_ (Halle, 1894) is a very commendable book,

and M. Arturo Farinelli's criticism in the _Revista crítica_, vol.

ii., is not only learned, but is warm in its appreciation of Gracián's

perverse talent.

CHAPTER XI

An almost complete record of eighteenth-century literature is supplied

by Sr. D. Leopoldo Augusto de Cueto, Marqués de Valmar, in his

_Histórica Crítica de la poesía castellana en el siglo XVIII._ (1893),

a revised and augmented edition of the classic preface to Rivadeneyra,

vols. lxi., lxiii., and lxvii. D. Emilio Cotarelo y Mori's invaluable

_Iriarte y su época_ (1897) sheds much light on the literary history of

the period, and D. Marcelino Menéndez y Pelayo's _Historia de las Ideas

estéticas en España_ (vol. iii. part ii., 1886) should be read as a

complement to all other works. Antonio María Alcalá Galiano's _Historia

de la literatura española, francesa, inglesa, é italiano en el siglo

XVIII._ (1845) is acute, but somewhat obsolete. I should recommend as

an honest, useful monograph the life of Sarmiento published under the

title of _El Gran Gallego_ (La Coruña, 1895) by D. Antolín López Peláez.

CHAPTERS XII AND XIII

The only summary of the period is Padre Francisco Blanco García's

_Literatura Española en el siglo XIX._ (1891): it is extremely

uncritical, and is marred by violent personal prejudices intemperately

expressed. But it has the merit of existing, and embodies useful

information in the way of facts. Gustave Hubbard's _Histoire de la

littérature contemporaine en Espagne_ (1876) and Boris de Tannenberg's

_La Poésie castellane contemporaine_ (1892) are pleasant but slight.

Pedro de Novo y Colsón's _Autores dramáticos contemporaneos y joyas del

teatro español del siglo XIX._ (1881-85), with a preface by Antonio

Cánovas del Castillo, is conscientiously put together, and will be

found very serviceable.

FOOTNOTES:

[32] Unless otherwise stated, it is to be understood that, of the books

named in this list, the Spanish are issued at Madrid, the English at

London, and the French at Paris.

INDEX

Abarbanel, Judas, 131, 219

Abraham ben David, 19

Acuña, Fernando de, 149-150

Adenet le Roi, 41

_Alabanza de Mahoma_, 20

Alarcón, Pedro Antonio de, 381-382

Alas, Leopoldo, 391-392

Alba, Bartolomé, 257

Alcalá, Alfonso de, 130

Alcalá y Herrera, Alonso de, 338

Alcázar, Baltasar de, 176

Alemán, Mateo, 264-267

_Alexander, Letters of_, 63, 65

_Alexandre, Libro de_, 62, 63, 65

Alfonso II. of Aragón, 28, 29

Alfonso the Learned, 28, 30, 38, 60, 63-72

Alfonso XI., 85

_Aljamía_, 19-20

Altamira y Crevea, Rafael, 398

_Altobiskarko Cantua_, 2

Al-Tufail, 12

Álvarez de Ayllón, Pero, 165

Álvarez de Cienfuegos, Nicasio, 359

Álvarez de Toledo, Gabriel, 346

Álvarez de Villasandino, Alfonso, 26, 31

Álvarez Gato, Juan, 112

_Amadís de Gaula_, 91, 97, 106, 123-124

_Amadís de Grecia_, 106, 157

Amador de los Ríos, José, 34, 43, 107

Amalteo, Giovanni Battista, 186

_Anales Toledanos_, 62

Andújar, Juan de, 109

Ángeles, Juan de los, 202

Ángulo y Pulgar, Martín de, 291

_Anséïs de Carthage_, 41

Antonio, Nicolás, 343

_Apolonio, Libro de_, 20, 30, 38, 53-54

Arab influence, 14-19

Arévalo, Faustino, 11

Argensola. _See_ Leonardo de Argensola

Argote, Juan de, 280

Argote y Góngora, Luis, 143, 233, 250, 270, 276, 279-294

Arguijo, Juan de, 298

Arias Montano, Benito, 181, 202-203, 272

Artieda. _See_ Rey de Artieda

Asenjo Barbieri, Francisco, 19, 131, 250

Avellaneda. _See_ Fernández de Avellaneda

Avellaneda. _See_ Gómez de Avellaneda

Avempace, 12

Avendaño, Francisco de, 170

Averroes, 12

Avicebron, 11, 17, 18

Ávila, Juan de, 161

Ávila y Zúñiga, Luis, 156

_Avilés, Fuero de_, 24

Axular, Pedro de, 3

Ayala. _See_ López de Ayala

Azémar, Guilhem, 36

Baena, Juan Alfonso de, 95, 96

Baist, Professor, 82

Balbus, 5

Balmes y Uspia, Jaime, 382

Bances Candamo, Francisco Antonio, 335

Barahona de Soto, Luis, 189, 270

Barcelo, Francisco, 118

_Barlaam and Josaphat, Legend of_, 83, 96

Barrera y Leirado, Cayetano Alberto de la, 242, 244

Barrientos, Lope de, 95

Basque influence, 3-4

Baudouin, Jean, 233

Bavia, Luis de, 286

Bechada, Grégoire de, 72

Bécquer, Gustavo Adolfo, 377-378

Bédier, M. Joseph, 16

_Belianís de Grecia_, 158

Belmonte y Bermúdez, Luis, 314

Bembo, Pietro, 144

Berague, Pedro de, 87

Berceo, Gonzalo de, 27, 28, 29, 57-61

Beristain de Souza Fernández de Lara, José Mariano, 257

Bermúdez, Gerónimo, 173

Bernáldez, Andrés, 127

Blanco, José María, 367-368

Blasco Ibáñez, Vicente, 395

_Bocados de Oro._ See _Bonium_

Böhl de Faber, Cecilia. _See_ Caballero

Böhl de Faber, Johan Nikolas, 203

Böhmer, Eduard, 162

Bonilla, Alonso de, 299

_Bonium_, 63, 73

Boscán Almogaver, Juan, 136-141, 143

Bouterwek, Friedrich, 289

Braulius, St., 10

Bretón de los Herreros, Manuel, 374

Burke, Edmund, 124

Byron, Lord, 230, 313, 370

Caballero, Fernán, 380-381, 389

Cabanyes, Manuel de, 372

_Cabo roto, Versos de_, 228, 268

Cáceres y Espinosa, Pedro de, 153

Cadalso y Vázquez, José de, 355

Calanson, Guirauld de, 36

Calderón de la Barca Henao de la Barreda y Riaño, Pedro, 85, 136, 225,

250, 256, 261, 276, 317-332

Camões, Luis de, 115, 177, 203, 270

Campoamor y Campoosorio, Ramón de, 383-386

Camus, Jean-Pierre, 289

_Cancioneiro Portuguez da Vaticana_, 30, 71

_Cancionero de Baena_, 30, 33, 96-98

_Cancionero de burlas_, 109, 112, 124

_Cancionero de Linares_, 15

_Cancionero de Lope de Stúñiga_, 34

_Cancionero General_, 109

_Cancionero Musical_, 119, 122, 131

Cañizares, José de, 345

Cano, Alonso, 276

Cano, Melchor, 200

_Cantilenas_, 24-25

_Canzoniere Colocci-Brancuti_, 123

Carlos Quinto, 142, 149

Caro, Rodrigo, 249

Carrillo, Alonso, 65, 114

Carrillo y Sotomayor, Luis de, 282-284

Carvajal, 34, 110

Carvajal, Miguel de, 165, 172

Casas, Bartolomé de las, 156

Cascales, Francisco de, 291, 293

Castellanos, Juan de, 192

Castellví, Francisco de, 118

_Castilla, Crónica de_, 103

Castilla, Francisco de, 153

Castillejo, Cristóbal de, 151-152, 165

Castillo Solórzano, Alonso de, 338

Castro, Adolfo de, 299

Castro y Bellvis, Guillén de, 305-306

Cecchi, Giovanni Maria, 168

_Celestina_, 107, 120, 125-126

_Centón Epistolario_, 272

Cepeda y Guzmán, Carlos, 320

Cervantes de Salazar, Francisco, 154

Cervantes Saavedra, Miguel de, 180, 215-241, 249, 253, 267, 268, 276,

278, 289, 350

Céspedes y Meneses, Gonzalo de, 338

Cetina, Gutierre de, 148-149

Chaves, Cristóbal de, 235

Chivalresque novels, 157-158

Churton, Edward, 178, 281, 282-283, 286, 290, 319-320

_Cid, Crónica del_, 103

_Cid, Poema del_, 24, 25, 40, 46-51

Cienfuegos. _See_ Álvarez de Cienfuegos

Civillar, Pedro de, 118

Claramonte y Corroy, Andrés, 309

Claude, Bishop, 10

Clavijo. _See_ González de Clavijo

Clavijo y Fajardo, José, 360

_Cobos, El Padre_, 377

Cobos, Francisco de los, 179

Coloma, Luis, 394

Columbarius, Julius, 251

Columbus, Christopher, 12, 127-128

Columella, Lucius Junius Moderatus, 8

Concepción, Juan de la, 346

_Conceptismo_, 299-300

Contreras, Juana de, 129

Córdoba, Martín de, 68

Córdoba, Sebastián de, 207

Corneille, Pierre, 306, 345

Corneille, Thomas, 313, 335

Cornu, Professor, 86

Coronado, Carolina, 375

Coronel, Pablo, 130

Corral, Pedro de, 93

Corte Real, Jerónimo, 203

Cortés, Hernán, 157

Cota de Maguaque, Rodrigo de, 110, 120-121

Cotarelo y Mori, Emilio, 122, 309, 398

Covarrubias y Horozco, Sebastián, 344

Croce, Benedetto, 126

_Crotalón, El_, 303

Cruz, San Juan de la, 182, 198-200

Cruz y Cano, Ramón de la, 360-361

Cubillo de Aragón, Álvaro, 335

Cuello, Antonio, 335

_Cuestión de Amor_, 126-127

Cueva de la Garoza, Juan de la, 171-173

_Culteranismo_, 283-285

Cunninghame Graham, Mrs., 193

Damasus, St., 8-9

_Danza de la Muerte_, 87-88

Dascanio, Jusquin, 131

Davidson, Mr. John, 70

_Debate entre el Agua y el Vino_, 55

Dechepare, Bernard, 3

Defoe, Daniel, 228

Diamante, Juan Bautista, 345

_Diario de los Literatos de España_, 348

Díaz del Castillo, Bernal, 157

Díaz Gámez, Gutierre, 105, 106, 347

Díaz Tanco de Fregenal, Vasco, 164

_Diez Mandamientos_, 62

Diniz, King of Portugal, 28, 38

_Disputa del Alma y el Cuerpo_, 55

Dobson, Mr. Austin, 15, 251

_Doce Sabios, Libro de los_, 63

Dominicus Gundisalvi, 19

Donoso Cortés, Juan, 382

D'Ouville, Antoine Le Métel, 263, 332

Dryden, John, 192, 264, 332

Ducas, Demetrio, 130

Duhalde, Louis, 2

Durán, Agustín, 93, 264

Echegaray, José, 376, 395

Encina, Juan del, 111, 121-123, 130, 135

_Enrique IV., Crónica de_, 117

Enríquez del Castillo, Diego, 117

Enríquez Gómez, Antonio, 338

Ercilla y Zúñiga, Alonso de, 3, 184, 190-192

_Ermitaño, Revelación de un_, 88

Escobar, Juan de, 34

Escobar, Luis de, 154

Escribá, Comendador de, 319

Espinosa, Pedro de, 189, 270, 279

Espinosa Medrano, Juan de, 291

Espronceda, José de, 368-372

Esquilache, Príncipe de (Francisco de Borja), 299

Estébanez Calderón, Serafín, 379-380

_Estebanillo González, Vida y Hechos de_, 338

Eugenius, St., 10

Eulogius, St., 18

Eximenis, Francisco, 107

Fadrique, the Infante, 72, 78

Fanshawe, Richard, 314

Faria y Sousa, Manuel, 185, 288-289

Farinelli, M. Arturo, 265, 312

Feijóo y Montenegro, Benito Gerónimo, 349

Ferdinand, St., 35, 62, 63

_Fernán González, Poema de_, 35

Fernández, Lucas, 122

Fernández de Andrado, Pedro, 299

Fernández de Avellaneda, Alonso, 238-240, 350

Fernández de Moratín, Leandro, 361-362

Fernández de Moratín, Nicolás Martín, 354

Fernández de Oviedo y Valdés, González, 156

Fernández de Palencia, Alfonso, 117, 130

Fernández de Toledo, Garci, 68

Fernández de Villegas, Pedro, 118, 130

Fernández-Guerra y Orbe, Aureliano, 24, 172, 299

Fernández Vallejo, Felipe, 44

Ferreira, Antonio, 173

Ferrús, Pero, 97

Figueroa, Francisco de, 187

FitzGerald, Edward, 323, 324, 325, 326, 331, 332

Flamini, Professor, 139

Flaubert, Gustave, 313

_Florisando_, 157

_Florisel de Niquea_, 106, 157

Forner, Juan Pablo, 357

Foulché-Delbosc, M. R., 120, 193, 210

French influence, 35-42

Frere, John Hookham, 59

Froude, James Anthony, 196-197

Fuentes, Alonso de, 33, 65

_Fuero Juzgo_, 62

Furtado de Mendoza, Diego, 28

Gallego, Juan Nicasio, 365

Gallinero, Manuel, 348

Gálvez de Montalvo, Luis, 207, 216

Garay, Blasco de, 171

Garay de Monglave, François Eugène, 2

García Arrieta, Agustín, 237

García Asensio, Miguel, 356

García de la Huerta y Muñoz, Vicente Antonio, 355-356

García de Santa María, Álvar, 102, 108

García Gutiérrez, Antonio, 374

Gareth, Benedetto, 131

Garnett, Dr. Richard, 344

_Gatos, Libro de los_, 96

Gautier de Coinci, 60, 61

Gayangos, Pascual de, 24, 83

Gentil, Bertomeu, 131

Geraldino, Alessandro, 129

Geraldino, Antonio, 129

Giancarli, Gigio Arthenio, 168

Gibson, James Young, 222, 223, 224, 253, 278, 304

Girard d'Amiens, 41

Girón, Diego, 176, 179

Goethe, Johan Wolfgang von, 221, 230, 323

Goizcueta, José María, 2

Gómara. _See_ López de Gómara

Gómez, 26, 74

Gómez, Álvar, 118, 131

Gómez, Ambrosio, 58

Gómez, Pero, 65, 74

Gómez de Avellaneda, Gertrudis, 374-375

Gómez de Cibdareal, Fernán, 272

Gómez de Quevedo y Villegas, Francisco, 96, 183, 184, 185, 186, 187,

228, 270, 277, 291, 300-305, 308, 345

Góngora. _See_ Argote y Góngora

González, Diego Tadeo, 359

González de Ávila, Gil, 272

González de Clavijo, Ruy, 105

González de Mendoza, Pedro, 28

González Llanos, Rafael, 24

Gosse, Mr. Edmund, 15, 231, 344, 387

Gower, John (the first English author translated into Castilian), 98

Gracián, Baltasar, 338-340

_Gran Conquista de Ultramar_, 72

Granada, Luis de, 200-202

Grant Duff, Sir M. E., 338

Grillparzer, Franz, 265

Grosseteste, Robert, 54

Guarda, Estevam del, 30

Guerra y Ribera, Manuel de, 327

Guevara, 119

Guevara, Antonio de, 154-156

Guevara, Luis. _See_ Vélez Guevara

Guillén de Segovia, Pedro, 116

Hadrian, 5, 6

Hammen, Lorenzo van der, 303

Hardy, Alexandre, 263

Haro, Conde de, 179

Haro, Luis de, 152

Hartzenbusch, Juan Eugenio, 96, 174, 374

Hebreo, León. _See_ Abarbanel

Hellowes, Edward, 155

Henley, Mr. William Ernest, 15

Henricus Seynensis, 19

Herbert, George, 162

Heredia, José Maria, 157

Hernández, Alonso, 132

Herrera, Fernando, 138, 146, 149, 176-180, 281, 282

Hervás y Cobo de la Torre, José Gerardo de, 348-349

Hervás y Panduro, Lorenzo, 362

Hoces y Córdoba, Gonzalo de, 281

Holland, Lord, 254, 256, 265

Hosius, 9

Hübner, Baron Emil, 8

Huete, Jaime de, 165

Hurtado, Luis, 124, 165

Hurtado de Mendoza, Antonio, 314

Hurtado de Mendoza, Diego, 139, 148, 150-151, 189, 208-210, 235

Hussain ibn Ishāk, 63, 73

Huysmans, M. Joris-Karl, 197

Hyginus, Gaius Julius, 4

Ibn Hazm, 12, 18

Icazbalceta, Joaquín García, 190

Iglesias de la Casa, José, 359

Imperial, Francisco, 97-98, 137

Iñíguez de Medrano, Julio, 233

_Iranzo y Crónica del Condestable Miguel Lucas_, 117, 167

Iriarte y Oropesa, Tomás de, 3, 268, 356-357

Isaac the Martyr, 18

Isidore, St., 10

Isidore Pacensis, 11

Isla, Francisco José de, 351-354

Jáuregui y Aguilar, Juan de, 288, 298, 307

Jiménez de Cisneros, Francisco, 130

Jiménez de Rada, Rodrigo, 62, 67, 68

Jiménez Patón, Bartolomé, 285, 295

Johnson, Samuel, 124, 138

_José, Poema de._ _See_ Yusuf

Josephus, 150

Jove-Llanos, Gaspar Melchor de, 357-358

_Juan II., Crónica de_, 100-101

Juan Manuel, 16, 80-85

Judah ben Samuel the Levite, 12, 14, 17, 43

_Juglares_, 26-31

Juvencus, Vettius Aquilinus, 8

_Kabbala_, the, 13

_Kalilah and Dimnah_, 65, 71, 78

Killigrew, Thomas, 332

Lafayette, Madame de, 269

Lamberto, Alfonso, 239

Landor, Walter Savage, 228

Larra, Mariano José de, 96, 97, 378-379

Latini, Brunetto, 65

Latrocinius, 9

_Lazarillo de Tormes_, 80, 158-160

Ledesma, Francisco, 166

Ledesma Buitrago, Alonso de, 299

_Leloaren Cantua_, 1-2

Lena. _See_ Rodríguez de Lena

León, Luis Ponce de, 180-184, 194, 195

León y Mansilla, José, 346

Leonardo de Albión, Gabriel, 277

Leonardo de Argensola, Bartolomé, 276-279

Leonardo de Argensola, Lupercio, 175-176, 276-278

Lesage, 42, 85, 269, 307, 354

Lessing, Gotthold Ephraim, 350, 351

L'Estrange, Roger, 304

Lewes, George Henry, 265

Licinianus, 10

Lidforss, Professor, 43

Lista, Alberto, 169, 368

_Lisuarte_, 157, 158

Llaguno y Amírola, Eugenio, 347

Lo Frasso, Antonio, 207

Loaysa, Jofre de, 68

Lobeira, Joham, 123, 153

Lobo, Eugenio Gerardo, 346

Lockhart, James Gibson, 93

Longfellow, Henry Wadsworth, 115, 328

Lope de Moros, 55, 57

Lope de Vega. _See_ Vega Carpio

López de Aguilar Coutiño. _See_ Columbarius

López de Ayala, Adelardo, 375-376

López de Ayala, Pero, 3, 74, 88-92

López de Cartagena, Diego, 130

López de Corelas, Alonso, 154

López de Gómara, Francisco, 157

López de Sedano, José, 175, 187, 268

López de Toledo, Diego, 130

López de Úbeda, Francisco. _See_ Pérez, Andrés

López de Úbeda, Juan, 271

López de Vicuña, Juan, 280-281

López de Villalobos, Francisco, 130, 154

Lorenzana y Buitrón, Francisco Antonio, 11

Lorenzo Segura de Astorga, Juan, 63

Loyola, St. Ignacio, 3, 193

Lucan, 4, 8

Lucena, Juan de, 107, 108

Luján de Sayavedra, Mateo. _See_ Martí

Lull, Ramón, 73, 82

Luna, Álvaro de, 28

_Luna, Crónica de Álvaro de_, 102-103

Luzán Claramunt de Suelves y Gurrea, Ignacio, 346-348

M'Carthy, Denis Florence, 328-329

MacColl, Mr. Norman, 320

Macías, 96-97, 119

_Magos, Misterio de los Reyes_, 24, 35, 43-46

Mahomat-el-Xartosse, 20

Maimonides, 12-14

Máinez, Ramón León, 239

Mairet, Jean, 263

Malara, Juan de, 170-171, 176

Maldonado, López, 219, 243

Malón de Chaide, Pedro, 202

Manrique, Gómez, 112-114, 254

Manrique, Jorge, 114-116, 119, 227

Maragall, Joan, 397

Marcabru, 30

March, Auzías, 12, 136, 145

Marche, Olivier de la, 149

Marcus Aurelius, 5

María de Jesús de Ágreda, Sor, 340

María del Cielo, Sor, 346

_María Egipciacqua, Vida de Santa_, 38, 54

Mariana, Juan de, 63, 272-274, 276

Marineo, Lucio, 129

Martí, Juan, 267

Martial, 5, 6

Martin of Dumi, St., 10

Martínez, Fernán, 67

Martínez de la Rosa, Francisco, 365-366

Martínez de Medina, Gonzalo, 98

Martínez de Toledo, Alfonso, 107

Martínez Salafranca, Juan, 348

Martyr, Peter, 128

Matos Fragoso, Juan de, 220, 335

Mayáns y Siscar, Gregorio, 350, 352

Medina, Francisco, 179

Medrano, Lucía, 129

Mela, Pomponius, 8

Meléndez Valdés, Juan, 358-359

Melo, Francisco Manuel de, 336

Mena, Juan de, 100-102

Mendoza, Íñigo de, 118

Menéndez Pidal, Ramón, 32, 51, 398

Menéndez y Pelayo, Marcelino, 37, 38, 117, 179, 239, 288, 311, 336,

345, 372, 397-398

Meres, Francis, 201

Mérimée, Ernest, 359

Mesonero Romanos, Ramón de, 380

Mexía, Hernán, 112

Mexía, Pedro, 156

Michaëlis de Vasconcellos, Mme., 86, 148

Milá y Fontanals, Manuel, 35, 38, 372

Milton, John, 346, 355

_Mingo Revulgo, Coplas de_, 111

Mira de Amescua, Antonio, 307, 314

Miranda, Luis de, 169

Molière, 42, 258, 313, 334, 345, 361

Molina, Argote de, 81, 101

Molinos, Miguel de, 341-342

Moncada, Francisco de, 336

Mondéjar, Marqués de, 343

Montalbán. _See_ Pérez de Montalbán

Montalvo. _See_ Ordóñez de Montalvo

Montemôr, Jorge, 115, 203-206

Montesino, Ambrosio, 118

Monti, Giulio, 354

Montiano y Luyando, Agustín, 344

Montoro, Antón de, 111, 112

Moraes, Francisco de, 124

Morales, Ambrosio de, 208

Moratín. _See_ Fernández de Moratín

Morel-Fatio, M. Alfred, 55, 96, 158, 378

Moreto y Cavaña, Agustín, 261, 333-335

Morley, Mr. John, 340

Mosquera de Figueroa, Cristóbal, 179, 226

Muhammad Rabadán, 20

Munday, Anthony, 158

Muñón, Sancho, 126

Muntaner, Ramón, 336

Naharro, Pedro, 169, 212

Nahman, Moses ben, 13-14

Nájera, Esteban de, 34, 152, 270

Nasarre y Férruz, Blas Antonio, 350

Navagiero, Andrea, 136, 137

Navarro, Miguel, 348

Nebrija, Antonio de, 93, 130

Nebrija, Francisca de, 129

Nieremberg, Juan Eusebio, 340

Nifo, Francisco Mariano, 319

North, Thomas, 155

Nucio, Martín, 34, 270

Núñez, Hernán, 130, 154, 171

Núñez de Arce, Gaspar, 395-396

Núñez de Villaizán, Juan, 91

Obregón, Antonio, 131

Ocampo, Florián de, 156

Ocaña, Francisco de, 271

Ochoa, Juan, 395

Odo of Cheriton, 96

Olid, Juan de, 117

Oliva. _See_ Pérez de Oliva

Oller y Moragas, Narcís, 395

Omerique, Hugo de, 343

Oña, Pedro de, 192

Ordóñez de Montalvo, García, 123-124

Ormsby, John, 50

Orosius, Paulus, 9-10

Ortiz, Agustín, 165

Oudin, César, 233

Oviedo. _See_ Fernández de Oviedo

Pacheco, Francisco, 170, 179

Padilla, Juan de, 119

Padilla, Pedro de, 216, 219, 243

Paez de Ribera, 157

Paez de Ribera, Ruy, 98

Palacio Valdés, Armando, 392-393

Palacios Rubios, Juan López de Vivero, 154

Palau, Bartolomé, 172

Palencia. _See_ Fernández de Palencia

_Palmerín de Inglaterra_, 158

_Palmerín de Oliva_, 158

_Panadera, Coplas de la_, 101

Paravicino y Arteaga, Hortensio Félix, 297, 319

Pardo Bazán, Emilia, 22, 393-394

Paredes, Alfonso de, 65

Paris, M. Gaston, 72

Patmore, Coventry, 200

Paulus Alvarus Cordubiensis, 17, 18

Pellicer, Casiano, 318

Pellicer de Salas y Tobar, José, 65, 95, 291, 308

Per Abbat, 47

Peralta Barnuevo, Pedro de, 345

Pereda, José María de, 389-390

Pérez, Alonso, 206

Pérez, Andrés, 228, 239, 268

Pérez, Antonio, 271-272

Pérez, Suero, 68

Pérez de Guzmán, Fernán, 103-104, 142

Pérez de Hita, Ginés, 269-270

Pérez de Montalbán, Juan, 307-308

Pérez de Oliva, Fernando, 4, 154

Pérez Galdós, Benito, 390-391

Peseux-Richard, M. H., 384, 385

Peter the Venerable, 21

Petrus Alphonsus, 16, 78

Phillips, Mr. Henry, 183

Picaud, Aimeric, 36

Pitillas, Jorge. _See_ Hervás y Cobo de la Torre

_Platir, Crónica del muy valiente_, 158

_Pleito del Manto_, 112, 121

_Polindo_, 158

Polo, Gaspar Gil, 206

Ponce, Bartolomé, 207

Ponte, Pero da, 38

_Poridat de las Poridades_, 63

Prete Jacopín. _See_ Haro, Conde de

_Primaleón_, 158

Priscillian, 9

Proverbs, Spanish, 171

_Provincial, Coplas del_, 110, 112, 117

Prudentius, Clemens Aurelius, 6, 9

Prudentius Galindus, 10

Puig, Leopoldo Gerónimo, 348

Pulgar, Hernando del, 111, 127

Puymaigre, Comte de, 34, 58

_Querellas, Libro de_, 65

Quevedo. _See_ Gómez de Quevedo

Quintana, Manuel José, 364-365

Quintilian, 5, 6

Racine, Jean, 345

Raimundo, 19

Ramírez de Prado, Lorenzo, 319

Ramos del Manzano, Francisco, 343

Ranieri, Antonio Francesco, 168

Rasis, 91

Rebolledo, Conde de, 299

Remón, Alonso, 310

Rennert, Professor, 206

Resende, García de, 204

Revilla, Manuel de la, 312, 376

Rey de Artieda, Andrés, 173-174

Reyes, Matías de los, 309

Reyes, Pedro de los, 193

Rhua, Pedro de, 155

Ribas y Canfranc, José Ibero, 250

Rioja, Francisco de, 299

Rivas, Duque de, 366-367

Rivers, Lord, 73

Roca y Serna, Ambrosio, 297

_Rodrigo, Cantar de_, 51-53

Rodríguez de la Cámara, Juan, 96, 97, 119

Rodríguez de Lena, Pero, 105

Rodríguez de Silva y Velázquez, Diego, 337-338

Rodríguez Rubí, Tomás, 374

_Rogel de Grecia_, 158

Rojas, Agustín de, 211

Rojas, Fernando de, 125-126

Rojas Zorrilla, Francisco de, 95, 276, 307, 325, 333

_Romancero General_, 33, 93, 270

_Romances_, Spanish, 32-34

Romero de Cepeda, Joaquín, 175

Roswitha, 11

Rotrou, Jean, 263

Rowland, David, 159-160

Rueda, Lope de, 166-169, 254, 261

Rufo Gutiérrez, Juan, 189-190, 216

Ruiz, Jacobo, 67

Ruiz, Juan, 30, 76-80, 84, 107

Ruiz de Alarcón y Mendoza, Juan, 95, 239, 256, 276, 315-317

Sâ de Miranda, Francisco de, 148

Saavedra Fajardo, Diego de, 336

Salas Barbadillo, Alonso de, 270

Salazar Mardones, Cristóbal de, 291

Salazar y Hontiveros, José de, 345

Salazar y Torres, Agustín de, 291-298

Salcedo Coronel, García de, 291

_Salomón, Proverbios en Rimo de_, 74, 91

Samaniego, Félix María de, 356

San Juan, Marqués de, 345

Sánchez, Clemente, 96

Sánchez, Francisco, 179

Sánchez, Miguel, 184

Sánchez, Tomás Antonio, 48, 58

Sánchez de Badajoz, Garci, 119

Sánchez de Tovar, Fernán, 91

Sánchez Talavera, Ferrant, 91, 98

Sancho IV., 72-73

Sannazaro, Jacopo, 145

Santillana, Marqués de, 15, 28, 33, 58, 79, 98-100, 119, 137

Santisteban y Osorio, Diego, 192

Sarmiento, Martín, 111, 349

Sbarbi, José María, 171

Scarron, Paul, 42, 269

Schack, Adolf Friedrich von, 14, 323

Schopenhauer, Arthur, 338

Scott, Sir Walter, 270, 366

Scudéry, Mlle. de, 269

Secchi, Niccolò, 168

Sedeño, Juan, 126

Selgas y Carrasco, José, 377

Sem Tob, 16, 87, 113

Sempere, Hieronym, 124

Seneca, the Elder, 4

Seneca, the Younger, 4, 8, 10, 73, 176

Sepúlveda, Lorenzo, 33

Shakespeare, William, 205

Shelley, Percy Bysshe, 46, 221, 321-322

Sidney, Philip, 143, 205

_Siete Partidas, Las_, 66-67

Silva, Feliciano de, 126, 157, 158

Silvestre, Gregorio, 115, 153

Sisebut, 7

Solís y Rivadeneira, Antonio de, 335-336

Sordello, 35

Sorel, Charles, 42, 269

Spera-in-Deo, 21

Stanley, Thomas, 140, 287

Stúñiga, Lope de, 34, 109

Suárez de Figueroa, Cristóbal, 315

Tamayo y Baus, Manuel, 376-377

Tansillo, Luigi, 132, 144

Tapia, Juan de, 109

Taylor, Jeremy, 198

Téllez, Gabriel. _See_ Tirso de Molina

Teresa, Santa, 182, 193-198, 301

_Tesoro_, the, 65, 72

Texeda, Jerónimo de, 206

Theodolphus, Bishop, 10

Thylesius, Antonius, 144

Ticknor, George, 24, 65, 89, 118, 122, 137, 140, 154, 206, 242, 244,

247, 249, 258, 259, 274, 285, 325, 348

Timoneda, Juan de, 170

Tirso de Molina, 174, 256, 261, 263, 267, 308-314, 315

Todi, Jacopone da, 30, 118

Torre, Alfonso de la, 108

Torre, Francisco de la, 184-187

Torrellas, Pero, 110, 112, 121

Torres Naharro, Bartolomé, 132-135, 166, 168, 170, 254

Torres Rámila, Pedro de, 251

Torres y Villarroel, Diego de, 346

Trajan, 5

Tribaldos de Toledo, Luis, 187, 208, 296

_Trovadores_, 26-31

Trueba, Antonio, 389

Turpin, Archbishop, 2

Tuy, Lucas de, 67

Urrea, Jerónimo de, 143

Urrea, Pedro Manuel de, 120

Valbuena, Antonio de, 391

Valdés, Juan de, 126-127, 144, 161-164, 303

Valdivielso, José de, 271

Valencia, Pedro de, 287, 288

Valera y Alcalá Galiano, Juan, 14, 384, 386-389

Valerius, St., 110

Valladolid, Juan de, 109, 111

Valmar, Marqués de, 22

Vanbrugh, John, 333

Vaqueiras, Raimbaud de, 30, 43

Varchi, Benedetto, 186

Vázquez de Ciudad Rodrigo, Francisco, 158

Vega, Alonso de, 169

Vega, Bernardo de la, 227

Vega, Garcilaso de la, 136, 138, 141-148, 178-179, 207

Vega Carpio, Lope Félix de, 20, 97, 136, 175, 185, 189, 219, 225, 226,

238, 239, 241-265, 270, 280, 350

Velázquez. _See_ Rodríguez de Silva y Velázquez

Velázquez de Velasco, Luis José, 69, 185, 351

Vélez de Guevara, Luis, 269, 276, 306-307

Venegas de Henestrosa, Luis, 115

Verdaguer, Jacinto, 397

Vergara, Francisco de, 130

Vergara, Juan de, 130

Vicente, Gil, 135

Vidal, Père, 36

Vidal de Besalu, Ramón, 22, 29

Vidal de Noya, Francisco, 129, 130

_Verge María, Trobes en lahors de la_, 118

Villalobos. _See_ López de Villalobos

Villalón, Cristóbal de, 303

Villamediana, Conde de, 276

Villapando, Juan de, 100

Villasandino. _See_ Álvarez de Villasandino

Villegas, Antonio de, 152-153, 206

Villegas, Esteban Manuel de, 298-299

Villegas, Jerónimo, 130

Villena, Enrique de, 94-96

Villena, Marqués de, 343-344

Virués, Cristóbal de, 170, 174-175, 254, 261

Vives, Luis, 129, 182

Voltaire, 191, 269, 315, 354

Wey, William, 36

Wiffen, Benjamin Barron, 163

Wiffen, Jeremiah Holmes, 146

Wycherley, William, 332

Xavier, St. Francisco, 3, 193

Yañez, Rodrigo, 86

Yañez y Ribera, Gerónimo de Alcalá, 338

Young, Bartholomew, 299

_Yusuf, Poema de_, 20, 75

Zamora, Alfonso de, 130

Zamora, Egidio de, 68

Zapata, Luis de, 190

Zorrilla, José, 313, 372-374

Zumárraga, Juan de, 190

Zúñiga, Francesillo de, 155

Zurita, Jerónimo, 207-208

THE END