MAYANS Y SISCAR—BLAS NASSARE.
Among the contemporaries of Luzan, the royal librarian, Gregorio Mayans y Siscar, is entitled to praise, for having, in biographical, literary and rhetorical works, furnished many hints and notices which throw light on the history of Spanish poetry and eloquence. His collection of detached writings on the History of the Spanish Language, (Origenes de la Lengua Española), embraces more than the title promises; and among other things contains a well written discourse exhorting authors to pursue the true idea of Spanish eloquence.[594] But his diffuse Art of Rhetoric,[595] which he published twenty years later than the work last mentioned, is merely a formal compilation of the ideas and criticisms of Aristotle and modern writers. It might with equal propriety be entitled an art of poetry. The examples given from the poets are long and numerous.
Blas Antonio Nassare, prelate and academician, laboured to attain the same kind of merit. He was, however, so blinded by his predilection for French literature, that he considered the eight comedies of Cervantes, which he first restored to light, as parodies on the style of Lope de Vega.[596]
MONTIANO’S TRAGEDIES IN THE FRENCH STYLE.
Agustin de Montiano y Luyando, who was counsellor of state, director of the academy of history, and a member of the Spanish academy, undertook to introduce regular tragedy on the Spanish stage according to Luzan’s principles. With this view he wrote two tragedies, the one entitled Virginia, and the other Ataulpho, in which, with the exception of the rhymeless iambics, which he substituted for the French Alexandrines, he has most anxiously endeavoured to fulfil all the conditions required by French criticism.[597] Both these tragedies are remarkable for pure and correct language; for the cautious avoidance of false metaphor; and for a certain natural style of expression, which is sometimes wanting even in the dramas of Corneille and Racine. They are, however, formed on the French model with such scrupulous nicety that they might be mistaken for translations.[598] It is scarcely necessary to mention, that in these tragedies the Aristotelian unities are rigidly observed, and that in the Virginia the father does not stab his daughter on the stage.
To the play of Virginia which was published in 1750, some years before Ataulpho, Montiano annexed a historical critical treatise on Spanish tragedy.[599] Patriotism had certainly some share in this treatise; for in the first place, Montiano wished historically to defend his countrymen against the reproach that no Spanish tragedy had ever been written; and secondly, he wished in his Virginia to furnish the first experiment of a Spanish tragedy, without violation of dramatic rules, though he did not pretend to set up that specimen as a model. He states, with all due modesty, that his work cost him much labour, and expresses a hope that his countrymen will be induced to imitate his example, to disregard the approbation of the ignorant multitude, and to strive to do better than he had done.[600] In a preface to his tragedy of Ataulpho he enlarges on the same theme.
VELASQUEZ.
Among the number of the Spanish Gallicists must likewise be included that intelligent writer Luis Joseph de Velasquez. His History of Spanish Poetry, (Origenes de la Poesia Española), which was published in 1754, proves that the Spaniards had then, in a great measure, forgotten their national literature. Velasquez unquestionably took considerable pains to collect, with critical spirit, those facts which were probably better known to him than to any of his contemporaries; and yet he has, upon the whole, obscured rather than elucidated the history of Spanish poetry. His criticism is quite in the French style, with a slight tincture of Spanish patriotism. Velasquez was a member of the French academy of inscriptions and belles lettres.
Not a single Spanish poet of distinguished merit flourished during the first half of the eighteenth century. That such a barrenness should have succeeded so great a fertility of talent, is a circumstance which the exhaustion of the national spirit does not sufficiently explain. It is also necessary to take into the account the conflict maintained between favour shewn to the French style and the demands of the Spanish public. Supported by national approbation, the Spanish poetry had gloriously flourished; but it perished when new arbiters of taste, who judged according to foreign principles, could with impunity treat the Spanish public as an ignorant multitude.[601] In this collision Spanish eloquence sustained no immediate injury. The influence of the French style, could indeed at that time do it no injury, for at the commencement of the eighteenth century, French prose was fitted to serve as a model for clearness, precision, facility and elegance. But no aspiring spirit now animated Spanish authors. Books written in correct prose were produced in sufficient numbers; and yet no work appeared which deserved particular distinction for rhetorical merit, or which contributed in any degree to invigorate the literature of Spain.