NOTES CRITICAL AND BIOGRAPHICAL.

[The accent, used in Spanish both for accentuation and pronunciation, has mostly only been given in the names of persons and places in which it is necessary for the pronunciation, as José, otherwise Jose.]

Alarcon, Pedro Antonio de, perhaps the most popular Spanish writer of the nineteenth century, was born in Guadix in 1833, and was a member of a noble family of but little means. After studying first jurisprudence, and afterwards theology, he devoted himself to letters, for which he had always shown a strong proclivity. Amongst the best known of his numerous works are “The Three-Cornered Hat,” which is based on an old Spanish tale, somewhat Boccaccian in flavour; “The Scandal”; “La Alpujarra,” the records of a delightful trip in Andalusia; and several collections of short tales, of which many have been translated into English—notably by Mary J. Serrano (New York).

Alas, Leopoldo, author and critic of the present day.

Aleman, Mateo, native of Seville, flourished in the year 1609. He followed in the steps of Mendoza, by the more ample portraiture of the life of a rogue than is the former’s Lazarillo, in his “Guzman de Alfarache,” which appeared in 1553, forty-six years after its prototype. Little is known of Aleman’s life; he seems to have been long employed in the Treasury, and at last to have retired, and devoted the rest of his life to letters. But he claims to be remembered by his work, “Guzmann de Alfarache,” the popularity of which was so immediate that, like “Don Quixote,” it provoked a spurious “Second Part” before the real continuation appeared, and was soon translated into the chief European tongues, French, Italian, German, Portuguese, and even Latin, and into excellent English by Mabbe, whose contemporary, Ben Jonson, thus speaks of it:

“The Spanish Proteus, which, though writ

But in one tongue, was formed with the world’s wit,

And hath the noblest mark of a good booke,

That an ill man doth not securely looke

Upon it; but will loathe or let it passe,

As a deformed face doth a true glasse.”

(Verses prefixed to Mabbe’s translation, and signed by Ben Jonson.)

Ayguals de Izco, Wenceslao, nineteenth century. This author, now often held up as a model to avoid, enjoyed, some fifty years ago, no little popularity as a humorous writer.

“Book of Jokes, The,” is to be found in the collection of “Spanish Salt,” edited by A. Paz y Melía, and published in 1890. Señor Paz believes most of the tales in the “Book of Jokes” should be ascribed to Hurtado de Mendoza.

Calderon de la Barca, Pedro, the great successor and rival of Lope de Vega, was eminently a poet in the national temper, and had a brilliant success. He was born at Madrid on January 17, 1600. After serving as a soldier he was, on the death of Lope, formally attached to the Court, and was subsequently made a Knight of the Order of Santiago. In 1651 he followed the example of Lope de Vega and other men of letters by entering the Church. He died in 1681, on the Feast of Pentecost, when all Spain was ringing with his autos, and was buried in the splendid church of Atocha. Calderon was remarkable for his personal beauty, and was endowed with a benevolent and kindly character. Of his autos, or religious plays, the “Wonder-working Magician” is the most characteristic of the old Spanish stage (the question has been raised if Goethe had not read it before he wrote “Faust,” the plot being very similar). Of the secular dramas, “The Mayor of Zalamea” is in Spain the most popular, and is still frequently represented, while “Life is a Dream” is perhaps pre-eminent for its brilliant flowing verse and philosophic thoughts. “The Mayor of Zalamea,” though boisterous and jolly in the act given in the text, winds up a tragedy of the first water.

Campoamor, Ramon de, native of Asturias, September 24, 1817, called by Blanco García the Poet “Philosopher” (a title disputed by other critics), is one of the few modern Spanish poets whose fame has crossed the frontier of the Peninsula, his works having been studied in Italy and France. Like his late fellow-poet, Zorrilla, he has reached a ripe old age, and his peculiar style (of which “If She could only Write” is perhaps scarcely typical) has had several imitators.

“Celestina; or, the Tragicomedy of Calisto and Melibœa,” is considered one of the chief foundations of the Spanish drama. The first act was probably written by Rodrigo Cota of Toledo, and it may be assumed that it was produced about 1480. The rest was added by Fernando de Rojas de Montalvan. Unhappily, large portions of this vigorous work abound in a shameless libertinism. It was followed by many imitations, and was soon translated into English, German, Dutch, Latin, Italian, and French.

Cervantes de Saavedra (Miguel) was a member of an old noble family, decayed in fortune, and was born in the month of October in 1547 in Alcalá de Henares. Here he probably received his early education, which it has been conjectured he continued at Madrid, and later on at the University of Salamanca. He discovered a strong predilection for literature, but his necessities seemed to have forced him to seek for a livelihood by some other means. Anyway, in 1570 we find him serving at Rome as chamberlain in the household of Cardinal Aquaviva; and he subsequently entered the navy, and lost his left hand at the famous sea-fight of Lepanto, which fight decisively arrested the intrusion of the Turks into the West of Europe (October 7, 1571). His misfortune did not prevent him joining the troops of the King of Spain at Naples; but when returning to Spain by sea, he was made a prisoner by pirates, who took him to Algiers, where for five years he was kept as a slave. After this period he was ransomed, when he went to Madrid. He married in 1584, and soon after began his first literary efforts, which were for the stage. But after composing some thirty plays with little pecuniary result, his genius was diverted into a different channel, and he produced, in 1605, the First Part of the immortal novel of “Don Quixote.” Inimitable in its wit and humour as this work is, it was at first received with comparative indifference. Ultimately, however, it met with the greatest applause, although the author reaped few or none of the emoluments which might have been expected from it. The Second Part was not published till 1615, and was even superior to the first. (Avellaneda’s spurious Second Part appeared in 1614.) Needless to say, “Don Quixote” soon became known all over the civilised world, and was translated into a multitude of tongues. The oldest English translation is by Shenton, 1612, which is followed by a vulgar, unfaithful, and coarse one by Milton’s nephew, John Philips, 1712; one by Motteux; one by Jervas (Jarvis), 1742, which Smollet used freely in his own, 1755; a few others of lesser importance; and finally, in the eighties of the present century, one by Mr. Ormsby; and Mr. H. E. Watt’s learned and faithful work, from which the extracts have been drawn for this volume. The other principal works of Cervantes are “The Journey to Parnassus,” his Exemplary Novels, “Galatea,” and the unfinished romance, “The Labours of Persiles and Sigismunda,” his last work. Cervantes died on the 23rd of April, in the year 1616 (the year of Shakespeare’s death), at the age of sixty-eight.

Chronicle of the Cid. Southey’s so-called “Chronicle of the Cid” is not a translation of any single work, but is based upon, i. La Cronica del Cid; ii. La cronica general (thirteenth century); iii. El Poema del Cid (twelfth century); and lastly, the ballads of the Cid. The extract given is, however, a word for word translation from the Cronica del Cid. The first and only edition of this chronicle was printed in 1552, but it is impossible to ascertain its age. (The Abbot who published it absurdly supposed it to have been written during the Cid’s lifetime.) The incident in the given extract seems to have much amused a mediæval audience, and it was often enlarged and improved upon by the minstrels and story-tellers.

Cid, The (Arabic, Said = Lord), Don Rodrigo Diaz de Bivar, also styled The Campeador, the national hero of Spain, was born at Burgos about 1040. The facts of his career have been wrapped by his admiring countrymen in such a haze of glorifying myths, that it is scarcely possible to detect them. His life, however, appears to have been entirely spent in fierce warfare with the Moors, then masters of a great part of Spain. His exploits are set forth in the works given in the note to the Chronicle of the Cid; and the story of his love for Ximena is the subject of Corneille’s masterpiece, “Le Cid” (based on a play by the Spanish dramatist Guillen de Castro). The Campeador’s last achievement was the capture from the Moors of Valencia, where he died in 1099.

Epigrams. The names of two famous satirists, of Forner (d. 1797) and Pitillas, are, for various reasons, lacking in this compilation.

Estébanez de Calderón, Serafin (El Solitario), born in Malaga, 1799, and died in Madrid in 1867, is given the priority of those authors, akin to the Periodical Essayists in English literature, called in Spain writers of “costumbres” (manners and customs of the people), who occupy so important a place in the Spanish literature of the nineteenth century, and amongst whom de Larra (Figaro) is pre-eminent. Unfortunately El Solitario employs such subtle style and archaic phrases that the Spaniards themselves complain they have to read his works with a dictionary.

“Estebanillo Gonzalez, The Life of,” which appeared in 1646, is the autobiography of a buffoon, who was long in the service of Ottavio Piccolomini, the great general of the Thirty Years’ War, but it is an autobiography so full of fiction, that Le Sage, sixty years after its appearance, easily changed it into a mere romance (Ticknor).

“Fernan Caballero” (Cecilia Böhl de Faber, daughter of the Spanish scholar), was born in 1796, and married three times. She is sometimes known under her last name, Cecilia Arron (or Arrom) de Azala. Her numerous works, chiefly novelas, were published under the pseudonym of Fernan Caballero, the name of a little village in La Mancha. They give truthful and lively pictures of Spanish (especially Andalusian) life and manners, are eminently national in tone and spirit, and have an excellent moral tendency, which combination soon made her one of the most popular Spanish writers of the nineteenth century. She also shares with Trueba the honour of collecting Spanish Folk-tales and popular songs from the mouths of the people, before the days of Folk-lore societies. Queen Isabella II. made her an offer of a residence in the Alcazar of Seville, of which she availed herself till the revolution of 1868, after which she lived in a modest villa, and devoted herself to charity. She died April 7, 1877.

Folk-tales. To a student of Spanish Folk-lore this selection will be unsatisfactory. The tales from Fernan Caballero and Trueba (see Biographical Notes) are, however, amusing, while Southey’s verses present a sample of the numerous tales current in Spain about the saints, and which are more often than not allied to the ridiculous. El Padre Cobos is the title of a famous periodical produced in the years 1854-6 (see Newspaper Humour).

“Gatomaquia.” [Having been unable to find a passage in Lope de Veg burlesque epic, the “Gatomachia,” comprehensive enough in itself to form a good extract, I append some lines descriptive of the hero and heroine, which, though somewhat vulgarised in the English, may give a notion of its humour.]

On a lofty peak’d ridge of a til’d-roof there sat

Zapaquilda, the prettiest pussy cat,

Enjoying a blow and most busy at work

Cleaning waistcoat and tail with tongue graceful yet perk,

For as jaunty a cat and important is she

As if she belonged to a monastery—

No mirror had she, though a mocking magpie

Had carried a broken potsherd up on high—

Who never found student’s shirt-collar but he

Behind a tile hid it as his property.

When she’d finished her washing, and wetting her paws,

Had drawn two long stripes down her sides with her claws,

She sang a sweet sonnet with such style and grace,

It reminded one of the musician of Thrace,

And made all the hearts of her list’ners rejoice

And say, “I am sure that’s a pussy cat’s voice,”

While some feline solfas and harmonious chromatics

Laid a whole nest of rats low with nervous rheumatics.

’Twas late spring and fair Flora with buskins of gold

Decked the earth with her roses and flowers manifold,

When to Sir Marramaquiz, of fame far and wide,

His squire (of La Mancha, by birth) quickly hied,

To tell how in the sun Zapaquilda, as fair

As the roseate dawn, had been combing her hair,

And now, with a charm and a grace quite her own,

Was singing a trifle of famed Mendelssohn,

That enamoured the air. Marramaquiz’s heart

At this news of his squire of dire love felt the smart;

He called for his charger, a monkey acquired

In the war of the Apes and the Cats, and attired

In breeches and boots, worth many a bright dollar,

And a little girl’s cuff round his neck for a collar,

In cape, cap and feather, and girt with a sword,

(The feather he’d pluck’d from a parrot whose word

Of defiance had vexed him), used both whip and spur,

And found Zapaquilda still taking the air,—

Who on seeing him, modest as nun ‘neath a veil,

Lick’d one paw, droop’d her eyelids and let down her tail,

For of virtuous maidens, ’tis ever the duty

To be more circumspect the greater their beauty.

Guevara, Luis Velez de, born in 1572 or 1574 at Ecija in Andalusia. He wrote a good deal for the stage (four hundred plays), in which he was an early follower of Lope de Vega; but the work which established his fame was the “Diablo Cojuelo,” the “Limping Devil,” which suggested the idea of Le Sag famous “Diable Boiteux.” Guevara died in the year 1644.

Hartzenbusch, Juan Eugenio, lived from 1805 to 1880, was born of a German father and Spanish mother. He is one of the first scholars, prose writers, and critics of the century, and like his contemporary, Mesonero Romanos, edited valuable collections of the flower of the old Spanish drama. His masterpiece is the tragedy, “The Lovers of Teruel,” which treats upon an old Spanish legend, and is one of the most popular of modern plays. An opera with the same title and subject, by a Spanish composer of the day, is also deservedly popular. “Mariquita la Pelona,” which is taken from a collection of short tales by this author, is written in old Spanish, and has a sequel in a modern “Mariquita,” who repairs to a convent for a year to obtain possession of a sum of money offered her by some unknown person, on condition she undergoes this temporary confinement, to find at the expiration of the twelve months that the mysterious donor is a slighted suitor, who had vowed to humiliate her.

Iglesias, born in Salamanca, wrote a number of poems, the lighter of which have alone retained popularity, the serious and duller ones, written after he became a priest, being justly neglected. He died in 1791.

Isla, Father, was born in 1703, and died in 1781 at Bologna, where, being a Jesuit, he had been sent on the general expulsion of his order from Spain. He was an author possessed of a brilliant and delicate satire, most thoroughly exemplified in his celebrated work, “The History of the Famous Preacher, Friar Gerund,” a direct attack on the bad style of preaching then in vogue. Padre Isla is also prominent as the translator into Spanish of “Gil Blas,” which, without any foundation, he maintained had been stolen by Le Sage from Spanish literature.

Jérica (Xérica), Pablo de (he was a young man during the French revolution), is very severely criticised by Blanco García in his “History of the Literature of the Nineteenth Century.”

Larra, Mariano José de (Figaro), was born in Madrid in the year 1809. Receiving his first education in France, where his father served as doctor in Napoleon’s army, he returned to complete it at Madrid, and afterwards repaired to the University of Valladolid, where he began to study law. He wrote his first prose essays at the age of twenty, but it was his later articles, signed “El pobrecito Hablador,” which first gave him the undisputed reputation of critic and writer of “costumbres,” among the host of which, his Spanish contemporaries and imitators, he reigns supreme, while what preserve his fame are the brilliant and satirical articles signed “Figaro,” amongst which “The Old Castilian,” and “Yo quiero ser comico,” are the best known. Unfortunately his private life was disturbed by wild love affairs, and he committed suicide on account of an attachment to a married lady, in 1837, at the age of twenty-eight.

“Libro de los Exemplos” (author unknown). This collection of tales is considered by Don Pascual de Gayangos to be posterior to Don Juan Manuel. The greater part of the tales are taken from Rabbi Mosch Sefardi’s “Disciplina Clericalis” (early part of the twelfth century), probably the Latin translation of an Arabic original, which is drawn from Oriental sources, and is itself the common well from which drew, amongst others, the authors of the “Gesta Romanorum,” the “Decameron,” and the “Canterbury Tales.” The story entitled “The Biter Bit” figures, for instance, in the “Disciplina Clericalis” and the Gesta Romanorum. “El Libro de los Gatos” belongs to the same century as the “Libro de los Exemplos” (or Enxemplos).

Lope Felix de Vega Carpio was born on November 25, 1562, at Madrid. This extraordinary Spanish genius, second only to Cervantes, than whom he was more popular during the lifetime of both, rose to a degree of fame reached by few of any country. Epics, serious and humorous (see “Gatomaquia”); novelas; ballads; epigrams; plays—religious, heroic, of intrigue, or of domestic life; nothing, in fact, came amiss to his pen. But it is as dramatist that he is best known, and in which quality his facility was such that at his death it was reckoned he had composed eighteen hundred plays and four hundred autos (religious dramas), while it is stated that one of his plays was written and acted within five days. Lope de Vega’s last days were the prey to a melancholy fanaticism. He regretted he had ever been engaged in any occupations but such as were exclusively religious; and on one occasion he went through with a private discipline so cruel that the walls of the compartment where it occurred were found sprinkled with his blood. From this he never recovered, and he died on August 27, 1635, nearly seventy-three years old. His funeral, which immense crowds thronged to see, lasted nine days; and of the eulogies and poems written on the occasion, those in Spanish were sufficient to form one volume, those in Italian another.

Manuel, Prince Don Juan, born May 5, 1282, at Escalona, died 1349, was of the blood royal of Castile and Leon, nephew to Alfonso the Wise, cousin to Sancho IV. He first fought against the Moors when he was twelve, and the rest of his years were spent in filling great offices in the State, or in military operations on the Moorish frontier. In spite of a life full of intrigue and violence he devoted himself successfully to literature, and is the first great Spanish prose writer. In “Count Lucanor,” his best and more known work, most of the tales are of Oriental origin. That Shakespeare knew the tale, here given the title of his play, is indubitable; while “The Naked King” will appear familiar to readers of Hans Andersen’s fairy tales (“The Emperor’s New Clothes” in its turn has given the plot for Ludwig Fulda’s drama, “The Talisman,” considered the best German play of the last three years, and recently introduced into England by Mr. Beerbohm Tree under the title of “Once Upon a Time”).

Mendoza, Diego Hurtado de, a distinguished Spanish statesman, soldier, and historian, was born at Granada in 1503. After studying at the Universities of Granada and Salamanca, he entered the service of the Emperor Charles V., and was employed in Italy both as diplomatist and general with equal success. He at last fell under the displeasure of Philip II. of Spain, and in 1567 was banished. He died at Madrid in the year 1575. His greatest work is “La guerra de Granada contra los Moriscos”; he also wrote some fine poetry; and claims the merit of producing in “Lazarillo de Tormes” the first model of the novela picoresca, peculiar to the literature of Spain. “Lazarillo” was translated into English as early as 1586 by David Rowland, of which rendering as many as twenty editions are known, and which was re-edited in the seventeenth century by James Blakeston, with but slight alterations. Like other books enjoying a wide reputation, it produced many imitations, among them a “Second Part” of little merit. See Book of Jokes.

Mesonero Romanos, Ramon de (El Curioso Parlante), born in Madrid, 1803, died in 1882, who appeared in the literary world, almost simultaneously, with de Larra, and together with him and Estébanez de Calderón belongs to the writers of “costumbres,” seems to an English reader inferior to these two in style and conception, though Spaniards consider his “Escenas Matritenses” one of the great works of the nineteenth century, and they are held by Blanco García to be invaluable photographs of life in the writer’s days. Mesonero Romanos was also a composer of light and piquant verses, and distinguished himself in the critical world by his collections of Spanish dramatists, published by Rivadeneyra.

Moratin, Leandro Fernandez, died 1828, the more famous son of a famous father (Nic. Fern. Moratin).

Newspaper Humour. The strictly humorous Spanish periodical literature of to-day is of no great merit, and often borders upon impropriety. Of the papers from which cuttings are here given, La Ilustracion Española y Americana (the Spanish Illustrated News), is first-rate in its class—Fernandez Bremen is a well-known contributor. The daily paper—El Imparcial—devotes a sheet every Monday to lighter and more amusing literature under the direction of Señor Ortega Munilla. Manuel Palacio is the comic poet of the day. Taboada, who writes for El Madrid Comico, the nearest approach to our Punch, is nothing if not vulgar. Blanco y Negro is a fairly successful attempt of humour with propriety. The famous periodical, El Padre Cobos, is not represented here as (it appeared in the years 1854-56) it cannot be considered to belong to the present day. It is, moreover, purely political.

Ossorio y Bernard, Manuel (nineteenth century). A humbler member of the Spectator school, or “autores de costumbres.”

Palacio Valdés, Armando (nineteenth century). One of the Spanish novelists of the day, and of great popularity, especially in America, where nearly all his novels have been translated into English. “Sister Saint Sulpice” is perhaps his masterpiece. Of his later novels, “Froth” should be avoided as a disagreeable work, and no true picture of aristocratic Spanish circles. “El Maestrante,” the last work of this author, is to be brought out shortly by Mr. Heinemann.

Pardo Bazan, Emilia, native of Corunna, September 16, 1851, married in 1868, is one of the most gifted women of the times, and in fame the Madame de Staël of Spain. She belongs to the Naturalistic school of novelists; does not, however, lack tinges of idealism. Her critical power is manifest in the review, El Teatro Critico, for three years the product of her pen alone, and the issuing of which, it is to be regretted, she has—owing to stress of work—suspended for this year (1894). She is, furthermore, editor of a series of works of special reference to women (whether of fiction, or of scientific, historical, and philosophical interest), for which she has already translated John Stuart Mill’s “The Subjection of Women,” while she promises, among other volumes, a Spanish version of “Adam Bede.” The little tale “First Love” is given here as being suitable for this volume, rather than as typical of Doña Emilia’s pen. Her works are too numerous to be here recounted.

“Pedigree of Fools.” This was versified at a later date.

Pérez Galdos, Benito, born in Las Palmas (the Canary Isles) in 1845, came to Madrid in 1863, where he took his degree in law. His fame rests upon the “Epistodios Nacionales,” in which, following in the steps of Erckmann-Chatrian, he illustrates his national history in a series of romances. The first series, to which the volume “Gerona” belongs, covers the period from the battle of Trafalgar to the entry of Ferdinand VII. into Spain (1814). Unlike his French prototypes, Pérez Galdos is furnished with no small amount of humour. In “Gerona” the grim horrors of the siege are well contrasted by passages, such as those given, and a third, in which the two boys Manolet and Badolet catch rats in the cellars, in danger themselves of being devoured by the army of famishing rodents, which are led by a huge fat rat, abused by the boys under the name of Napoleon, and which they finally catch and propose to sell in the market for at least ten reals (2s.) Pérez Galdos changes his residence according to the scenes of the subject at which he is working, and is at present at Santander.

Pinedo, Luis de. See Book of Jokes.

“Poema del Cid.” This grand old poem, unquestionably the oldest in the Spanish language, is by Sanchez, who first published it in 1779, given as early a date as the middle of the twelfth century, about fifty years after the death of the Cid. Some spirited fragmentary translations by Mr. John Hookham Frere are appended to the early edition of Southey’s “Chronicle of the Cid,” and the whole laid before the reader in verse and somewhat epitomised prose by Mr. John Ormsby, whose work is invaluable to English students of the poem, not only for its true rendering, but for the fine introduction. An attempt at old ballad language and style may perhaps be excused in the extract selected, by reason that this, the most humorous incident in the poem, had unfortunately not been put into verse by either Mr. Hookham or Mr. Ormsby, and a fresh departure seemed desirable to avoid invidious comparison. The passage, alas! is also considerably abridged to suit the requirements of the present volume. For the rendering of the old Spanish I have to thank the valuable tuition of Señor Don José Balari y Jovany, of the University of Barcelona, to whom, as a philologist of no small merit, attention has already been drawn in England. The following passage is from Ford’s “Guide to Spain”—Burgos Cathedral. “In the ante-room of the chapter-house is preserved El Cofre del Cid, a trunk clamped with iron, and now attached to the north wall, which the Cid filled with sand, and then pledged to the Jews as full of gold, for a loan of 600 marks, which he afterwards honestly repaid.”

Polo, Jacinto, flourished in 1630, and is known as the composer of some lyrical poetry and author of prose satires in the style of Quevedo’s Visions. It has, however, been doubted by Gayangos and other critics if “The University of Love and School of Interest,” from which Ticknor gives the extract “Aunts,” was written by Polo.

Popular Songs. Long romances or ballads, like those of the olden times, are also sung in the streets of Spain by the blind minstrels. The so-called popular songs are, however, of the kind here given, which bear a strong family likeness to the stornelli and rispetti of the Italian peasantry, and which, illustrating the origin of the word ballad, are danced to. The verses often embody quaint conceits. The stones in the pavement quarrelling over which should be trodden on by a fair maid is not very far-fetched for a Spanish compliment. A Spanish lover will adore anything that has the remotest connection to his lady-love, and a record “flor” (flower = sweet saying) which hails from South America is, “Blessed be even the razor with which your father shaves himself.” The accompaniment to the songs is in dancing rhythm thrummed on the ubiquitous guitar, and often marked by the castanets of the dancers, or, in Oriental fashion, by the clapping of hands of the bystanders. The air sung consists of three or four phrases at most, each a combination of nasally intoned, long-sustained notes ending in odd twists and turns.

Portuguese Epitaphs. The Castilians always sharpen their wits on the Portuguese, who, together with the Biscayans, are laughed at for their simplicity. The Portuguese is also accused of a love of brag. This joking is carried so far that, to take off the poor Portuguese, anecdotes and epitaphs (as in those selected) are written in the Portuguese language by Spaniards. The Andalusian also plays the braggart, and is a reputed payer of fantastic and exaggerated compliments (flores) to the fair sex. The Gallegan is credited with the shrewdness of the Yorkshireman.

Proverbs. Many of these “wise sayings drawn from long experience,” to which the Spanish people are especially addicted, are given in the English rendering of an old book on Spanish proverbs in the library of the British Museum.

Quevedo, Francisco Gomez de, the eminent Spanish satirist, was born of a distinguished family at Madrid, 1580. He was sent early to the University of Alcalá, where he took his degree at the age of fifteen. He mixed much in fashionable society, but in consequence of a duel he was compelled to quit the court and repair to Naples, where he was received by the Spanish envoy, the Duke of Osuna, who not only retained him in his service, but procured his pardon at Madrid. On the fall of his patron Quevedo returned to court; but scarcely had he arrived there when he was arrested, and confined for three years to his country seat, upon the charge of being the author of certain libels against the Government. In 1641 he was again arrested on the charge of libel, and cast into prison, where he remained for nearly two years. He died sometime after his release in September, 1645. Quevedo was undoubtedly one of the best writers of his age, both in prose and verse. His longest prose satire, “The History and Life of the Great Sharper, Paul of Segovia,” first printed in 1626, belongs to the style of fiction invented by Mendoza in his “Lazarillo,” and has most of the characteristics of its class. His “Sueños,” or Visions, are equally famous, and are extremely original. His works were translated into English by Sir Roger L’Estrange, and passed through about ten editions in forty years, and again by Stevens about the close of the last century. This most original of Spanish writers (excepting Cervantes) distinguished himself by his extraordinary versatility of talent. His poems, collected under the title of “El Parnaso Español,” consist of lyrical poems, satires, burlesque pieces, and more than a thousand sonnets of remarkable beauty.

Ribot y Fontserré. The tales current abroad of the eccentricities of Englishmen are many. A Spaniard will gravely tell a tale of how an Englishman, after a serious railway accident on the Continent, in which his valet was killed, gathered together the fragments of the latter’s body, packed them in the man’s trunk, and despatched this to the family of the deceased. The tale of the somewhat Dundrearyesque lord may, however, be based on fact, for the story is known in England. It is here given from a Spanish humorous publication of the first half of this century. A veteran in journalism like Mr. Sala would probably know the origin, and name the hero of the story.

Rojas, Francisco de (Rojas y Zorrilla), flourished during the greater part of Calderon’s life, and may have survived him. He was born in Toledo, and in 1641 was made a Knight of the Order of Santiago; but when he died is not known. Unless he began his career too early to be a mere follower, he certainly belongs to Calderon’s school. He is perhaps most successful in tragedies, of which the best play is “None below the King.” This work still maintains a position on the stage, and is worth reading if only as an example of the extraordinary sense of honour and allegiance entertained by Spaniards in those past times.

Rueda, Lope de, is the author of four comedias, two pastoral colloquies (“Timbria” is one), and minor works, all written for representation, and which were unquestionably acted before public audiences by the strolling company Lope de Rueda led about. The period in which he flourished is probably between 1544 and 1567. In spite of belonging to the then despised and rejected profession of the stage, he was interred with honour in the great cathedral of Cordova.

Santos, Francesco, a native of Madrid, died not far from the year 1700. Between 1663 and 1697 he gave to the world sixteen volumes of different kinds of works for the popular amusement. The oldest of the series is “Dia y Noche en Madrid,” the hero of which, a stranger, falls into the hands of a not over-honest servant, who undertakes to serve as guide to him in Madrid. “Truth on the Rack; or, the Cid come to Life again,” is an allegorical work (from it the tale “La Tarasca” is drawn), and is amusing in that the Cid on his return to earth is much disgusted with the traditions and ballads about himself.

Segovia, Antonio Maria, who signed his articles with the pseudonym “The Student,” has the fame of being the most classic in style of the Spanish periodical essayists of the nineteenth century.

Selgas y Carrasco, José, was born in Murcia in 1824, and died at Madrid, 1882. He was one of the contributors to the famous periodical El Padre Cobos, and exhibits an inimitable serious humour in his volumes of “Loose Leaves” (“Hojas Sueltas”).

Timoneda, Juan de, a bookseller, one of the founders of the popular theatre in Spain, flourished in the year 1590. He was also an early writer of Spanish tales, his first attempt being “Patrañuelo,” a small work which drew its material from widely different sources—some being found in the Gesta Romanorum, others, like the story of Griselda, from Boccaccio, another, familiar to English readers by the ballad of “King John and the Abbot of Canterbury,” probably from Sacchetti. Timoneda was a friend of Lope de Rueda, whose works he edited.

Trueba, Antonio de, born Christmas, 1819 (?), of poor and respectable parents, within the jurisdiction of the province of Biscay, was sent, at the age of fifteen, to work in a hardware store in Madrid, where he spent all his spare time and hours, stolen from sleep, in reading and writing, until he began to publish, and finally dedicated himself wholly to literature. He is the exponent of humble Spanish life, especially of the country people, and if he is somewhat too rose-coloured in his views, it is, perhaps, not an unpardonable fault. His collection of popular songs was received with enthusiasm, and though he is now out of vogue as an author, the songs and his prose works, of which most are based upon folk-tales, will always be of value for the researches of Folk-lore.

Valera, Juan, was born in the province of Cordova on October 18, 1824. He had aristocratic connections, and was early in life enrolled in the diplomatic service, to which he owes his great familiarity with European literature. He subsequently entered politics, and until the age of forty-two had been able to give up to authorship but his hours of leisure, to which we owe his critical studies and translations. “Pepita Jiménez,” his first novel, was produced in 1874, and was a “success unparalleled in the history of modern Spanish literature.” To continue in the words of Mr. Edmund Gosse:—“This book still remains, after the large development of fiction in Spain, the principal, the typical Spanish novel of our days.... It has become a classic in the lifetime of its author, and is studied, imitated, analysed as a book which has passed beyond all danger of the vicissitudes of fashion, and which will unquestionably survive as one of the glories of the national literature.... ‘Pepita Jiménez’ is Spain itself in a microcosm—Spain with its fervour, its sensual piety, its rhetoric and hyperbole, its superficial passion, its mysticism, its graceful extravagance.” Later novels are “El Comendador Mendoza,” “Doña Luz,” and “Doctor Faustino.” Valera occupies a pre-eminent position as politician, journalist, author, and critic, and is at present at Vienna as Spanish ambassador to the Austrian Court.

Vicente, Gil, a Portuguese, but who ranks among Spanish dramatists, as he wrote ten plays in Castilian. (It was a not uncommon practice for Portuguese authors to employ Castilian. Saa de Miranda, the pastoral poet and contemporary of Gil Vicente, wrote six of his eight eclogues in the more sonorous Castilian.) Gil Vicente flourished as a writer for the stage from 1506 to 1536; died in 1557.

Yriarte (Iriarte), Tomas de, born on the island of Tenerife in 1750, but educated mostly at Madrid, owes his reputation chiefly to his literary fables, the influence of which was much needed in the age of bad writing in which they appeared, and in which he showed originality by adapting the attributes of animals to only one class of men, namely, authors, and not mankind at large, as had always been done before. Yriarte died in 1791.

Zayas y Sotomayor, Maria de. The only information we can gather respecting this lady is founded on the authority of the industrious bibliographer, Nicolas Antonio, who assures us that she was a native of Madrid, and that she composed two series of novels, under the titles of “Novelas Amorosas i exemplares,” and “Novelas i Seraos.” She is also mentioned by Lope de Vega in his “Laurel de Apolo” in very flattering terms. The style and character of this write novels exhibit much of the ease and elegance, with no little of the freedom, of Boccaccio; they abound with incident, both humorous and tragic, and with chivalric or amorous adventure. With little artifice, however, in the plot, and less study of character, there are some striking and effective scenes; while the situations are often well conceived, and the suspense is maintained throughout so as to please or surprise us. “The Miser Chastised” is perhaps the only one of her novels in which the writer wholly adopts a comic tone and spirit, without any touches of a more sentimental kind. With some humour, this story combines considerable ease and originality. Under the same title as the foregoing appeared a drama from the pen of Don Juan de la Hoz Mota, a Spanish dramatic writer of some celebrity, who succeeded in exposing the vice of avarice on the stage in strong and natural colours, and with such bold and happy strokes of ridicule, as almost to merit its being placed in the same rank with the famous “Avare” of Molière (Thomas Roscoe). Doña Maria de Zayas, flourished in the year 1637. Zorrilla, José, born at Valladolid, February 21, 1817, poet par excellence of traditionary and legendary subjects, has for years been prime favourite of the Spanish people, and his inexhaustible vein of poetry showed but scanty signs of diminishing even in the last years of a hoary old age. His most popular work, “Don Juan Tenorio” (1844), a drama in verse treating of the notorious Don Juan, hero of Tirso de Molina’s “Seville Deceiver,” of Byron’s poem, and Mozart’s opera, is a masterpiece of harmonious and flowing verse, and of fine dramatic effect. It is played annually in every town where there is a theatre throughout all Spain on the eve of All Saints’ Day, when the scene in which the bodies rise from their graves and come to the banquet of Don Juan and his boon companions upon the former’s blasphemous invitation is awaited with breathless horror by crowded houses. Other long poems are the “Legend of the Cid,” and “The Cobbler and the King.” Zorrilla died the 23rd of January, 1893.

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XXIV. MAN AND WOMAN. By Havelock Ellis. Illustrated. Fourth and Revised Edition.

“Mr. Havelock Ellis belongs, in some measure, to the continental school of anthropologists; but while equally methodical in the collection of facts, he is far more cautious in the invention of theories, and he has the further distinction of being not only able to think, but able to write. His book is a sane and impartial consideration, from a psychological and anthropological point of view, of a subject which is certainly of primary interest.”—Athenæum.

XXV. THE EVOLUTION OF MODERN CAPITALISM. By John A. Hobson, M.A. (New and Revised Edition.)

“Every page affords evidence of wide and minute study, a weighing of facts as conscientious as it is acute, a keen sense of the importance of certain points as to which economists of all schools have hitherto been confused and careless, and an impartiality generally so great as to give no indication of his [Mr. Hobson’s] personal sympathies.”—Pall Mall Gazette.

XXVI. APPARITIONS AND THOUGHT-TRANSFERENCE. By Frank Podmore, M.A.

“A very sober and interesting little book.... That thought-transference is a real thing, though not perhaps a very common thing, he certainly shows.”—Spectator.

XXVII. AN INTRODUCTION TO COMPARATIVE PSYCHOLOGY. By Professor C. Lloyd Morgan. With Diagrams.

“A strong and complete exposition of Psychology, as it takes shape in a mind previously informed with biological science.... Well written, extremely entertaining, and intrinsically valuable.”—Saturday Review.

XXVIII. THE ORIGINS OF INVENTION: A Study of Industry among Primitive Peoples. By Otis T. Mason, Curator of the Department of Ethnology in the United States National Museum.

“A valuable history of the development of the inventive faculty.”—Nature.

XXIX. THE GROWTH OF THE BRAIN: A Study of the Nervous System in relation to Education. By Henry Herbert Donaldson, Professor of Neurology in the University of Chicago.

“We can say with confidence that Professor Donaldson has executed his work with much care, judgment, and discrimination.”—The Lancet.

XXX. EVOLUTION IN ART: As Illustrated by the Life-Histories of Designs. By Professor Alfred C. Haddon. With 130 Illustrations.

“It is impossible to speak too highly of this most unassuming and invaluable book.”—Journal of Anthropological Institute.

XXXI. THE PSYCHOLOGY OF THE EMOTIONS. By Th. Ribot, Professor at the College of France, Editor of the Revue Philosophique.

“Professor Ribot’s treatment is careful, modern, and adequate.”—Academy.

XXXII. HALLUCINATIONS AND ILLUSIONS: A Study of the Fallacies of Perception. By Edmund Parish.

“This remarkable little volume.”—Daily News.

XXXIII. THE NEW PSYCHOLOGY. By E. W. Scripture, Ph.D. (Leipzig). With 124 Illustrations.

XXXIV. SLEEP: Its Physiology, Pathology, Hygiene, and Psychology. By Marie de Manaceïne (St. Petersburg). Illustrated.

XXXV. THE NATURAL HISTORY OF DIGESTION. By A. Lockhart Gillespie, M.D., F.R.C.P. Ed., F.R.S. Ed. With a large number of Illustrations and Diagrams.

“Dr. Gillespie’s work is one that has been greatly needed. No comprehensive collation of this kind exists in recent English Literature.”—American Journal of the Medical Sciences.

XXXVI. DEGENERACY: Its Causes, Signs, and Results. By Professor Eugene S. Talbot, M.D., Chicago. With Illustrations.

“The author is bold, original, and suggestive, and his work is a contribution of real and indeed great value, more so on the whole than anything that has yet appeared in this country.”—American Journal of Psychology.

XXXVII. THE RACES OF MAN: A Sketch of Ethnography and Anthropology. By J. Deniker. With 178 Illustrations.

“Dr. Deniker has achieved a success which is well-nigh phenomenal.”—British Medical Journal.

XXXVIII. THE PSYCHOLOGY OF RELIGION. An Empirical Study of the Growth of Religious Consciousness. By Edwin Diller Starbuck Ph.D., Assistant Professor of Education, Leland Stanford Junior University.

“No one interested in the study of religious life and experience can afford to neglect this volume.”—Morning Herald.

XXXIX. THE CHILD: A Study in the Evolution of Man. By Dr. Alexander Francis Chamberlain, M.A., Ph.D., Lecturer on Anthropology in Clark University, Worcester (Mass.). With Illustrations.

“The work contains much curious information, and should be studied by those who have to do with children.”—Sheffield Daily Telegraph.

XL. THE MEDITERRANEAN RACE. By Professor Sergi. With over 100 Illustrations.

“M. Sergi has given us a lucid and complete exposition of his views on a subject of supreme interest.”—Irish Times.

XLI. THE STUDY OF RELIGION. By Morris Jastrow, Jun., Ph.D., Professor in the University of Pennsylvania.

“This work presents a careful survey of the subject, and forms an admirable introduction to any particular branch of it.”—Methodist Times.

XLII. HISTORY OF GEOLOGY AND PALÆONTOLOGY TO THE END OF THE NINETEENTH CENTURY. By Karl von Zittel.

“It is a very masterly treatise, written with a wide grasp of recent discoveries.”—Publishers’ Circular.

XLIII. THE MAKING OF CITIZENS: A Study in Comparative Education. By R. E. Hughes, M.A. (Oxon.), B.Sc. (Lond.).

“Mr. Hughes gives a lucid account of the exact position of Education in England, Germany, France, and the United Stales. The statistics present a clear and attractive picture of the manner in which one of the greatest questions now at issue is being solved both at home and abroad.”—Standard.

XLIV. MORALS: A Treatise on the Psycho-Sociological Bases of Ethics. By Professor G. L. Duprat. Translated by W. J. Greenstreet, M.A., F.R.A.S.

“The present work is representative of the modern departure in the treatment of the theory of morals. The author brings a wide knowledge to bear on his subject.”—Education.

XLV. A STUDY OF RECENT EARTHQUAKES. By Charles Davison, D.Sc, F.G.S. With Illustrations.

“Dr. Davison has done his work well.”—Westminster Gazette.

* XLVI. MODERN ORGANIC CHEMISTRY. By Dr. C. A. Keane, D.Sc., Ph.D., F.I.C. With Diagrams. *

IBSEN’S DRAMAS.

Edited by WILLIAM ARCHER.

THREE PLAYS TO THE VOLUME.

12mo, CLOTH, PRICE $1.25 PER VOLUME.

“We seem at last to be shown men and women as they are; and at first it is more than we can endure.... All Ibsen’s characters speak and act as if they were hypnotised, and under their creator’s imperious demand to reveal themselves. There never was such a mirror held up to nature before: it is too terrible.... Yet we must return to Ibsen, with his remorseless surgery, his remorseless electric-light, until we, too, have grown strong and learned to face the naked—if necessary, the flayed and bleeding—reality.”—Speaker (London).

Vol. I. “A DOLL’S HOUSE,” “THE LEAGUE OF YOUTH,” and “THE PILLARS OF SOCIETY.” With Portrait of the Author, and Biographical Introduction by William Archer.

Vol. II. “GHOSTS,” “AN ENEMY OF THE PEOPLE,” and “THE WILD DUCK.” With an Introductory Note.

Vol. III. “LADY INGER OF ÖSTRÅT,” “THE VIKINGS AT HELGELAND,” “THE PRETENDERS.” With an Introductory Note.

Vol. IV. “EMPEROR AND GALILEAN.” With an Introductory Note by William Archer.

Vol. V. “ROSMERSHOLM,” “THE LADY FROM THE SEA,” “HEDDA GABLER.” Translated by William Archer. With an Introductory Note.

Vol. VI. “PEER GYNT: A DRAMATIC POEM.” Authorised Translation by William and Charles Archer.

The sequence of the plays in each volume is chronological; the complete set of volumes comprising the dramas thus presents them in chronological order.

“The art of prose translation does not perhaps enjoy a very high literary status in England, but we have no hesitation in numbering the present version of Ibsen, so far as it has gone (Vols. I. and II.), among the very best achievements, in that kind, of our generation.”—Academy.

“We have seldom, if ever, met with a translation so absolutely idiomatic.”—Glasgow Herald.

* THIS IS THE BEST AND CHEAPEST EDITION OF IBSEN.

NEW YORK: CHARLES SCRIBNER’S SONS