The direction of the literature of the country, however, was the same it had taken from the beginning of the century. Slight, but unsatisfactory, attempts continued to be made to adhere to the forms of the elder time;—such attempts as are to be seen in a long narrative poem by the Count Saldueña on the subject of Pelayo, and two very poor imitations of the “Para Todos” of Montalvan, one of which was by Moraleja, and the other by Ortiz. But the amount of what was undertaken in this way was very small, and the impulse was constantly diminishing; for the French school enjoyed now all the favor that was given to any form of elegant literature.[315]
In this respect, a fashionable society, called The Academy of Good Taste, and connected with the court of Madrid, exercised some influence. It dates from 1749, and was intended, perhaps, to resemble those French coteries, which began in the reign of Louis the Thirteenth, at the Hotel de Rambouillet, and were long so important both in the literary and political history of France. The Countess of Lemos, at whose house it met, was its founder, and it gradually ranked among its members several of the more cultivated nobility and most of the leading men of letters, such as Luzan, Montiano, Blas Nasarre, and Velazquez, each of whom was known, either at that time or soon afterwards, by his published works.[316]
Except Luzan, of whom we have already spoken, Velazquez was the most distinguished of their number. He was descended from an old and noble family, in the South of Spain, and was born in 1722; but, from his position in society, he passed most of his life at court. There he became involved in the political troubles of the reign of Charles the Third, in consequence of which he suffered a long imprisonment from 1766 to 1772, and died of apoplexy the same year he was released.
Velazquez was a man of talent and industry, rather than a man of genius. He was a member, not only of the principal Spanish academies, but of the French Academy of Inscriptions and Belles Lettres, and wrote several works of learning relating to the literature and antiquities of his country. The only one of them now much valued was published in 1754, under the title of “Sources of Castilian Poetry,” of which it is, in fact, a history, coming down to his own times, or near to them. It is a slight work, confused in its arrangement, and too short to develope its subject satisfactorily; but it is written in a good style, and occasionally shows acuteness in its criticism of individual authors. Its chief fault is, that it is devoted to the French school, and is an attempt to carry out, by means of an historical discussion, the doctrines laid down nearly twenty years before by Luzan, in his theory of poetical composition.[317]
Mayans, a Valencian gentleman of learning, and another of those who had a considerable influence on Spanish literature at this period, followed a similar course in his “Retórica,” which appeared in 1757, and is founded rather on the philosophical opinions of the Roman rhetoricians than on the modification of those opinions by Boileau and his followers. It is a long and very cumbrous work, less fitted to the wants of the times than that of Luzan, and even more opposed to the old Castilian spirit, which submitted so unwillingly to rules of any sort. But it is a storehouse of curious extracts from authors belonging to the best period of Spanish literature, almost always selected with good judgment, if not always skilfully applied to the matter under discussion.[318]
To these works of Mayans, Velazquez, and Luzan should be added the Preface by Nasarre to the plays of Cervantes, in 1749, where an attempt is made to take the authority of his great name from the school that prevailed in his time, by showing that these unsuccessful efforts of the author of “Don Quixote” were only caricatures ridiculing Lope de Vega; not dramatic compositions intended for serious success in the extravagant career which Lope’s versatile genius had opened to his contemporaries. But this attempt was a failure, and was only one of a long series of efforts made to discountenance the old theatre, that must be noticed hereafter.[319]
CHAPTER IV.
Slow Progress of Culture. — Charles the Third and his Policy. — Isla. — His Friar Gerund. — His Cicero. — His Gil Blas. — Efforts to restore the Old School of Poetry. — Huerta. — Sedano. — Sanchez. — Sarmiento. — Efforts to introduce the French School. — Moratin the Elder and his Club. — Cadahalso, Yriarte, Samaniego, Arroyal, Montengon, Salas, Meras, Noroña.
The reign of Ferdinand the Sixth, which had been marked with little political energy during its continuance, was saddened, at its close, by the death of the monarch from grief at the loss of his queen. But it had not been without beneficial influences on the country. A wise economy had been introduced, for the first time since the discovery of America, into the administration of the state; the abused powers of the Church had been diminished by a concordat with the Pope; the progress of knowledge had been furthered; and Father Feyjoó, vigorous, though old, was still permitted, if not encouraged, to go on with his great task, and create a school that should rest on the broad principles of philosophy recognized in England and in France.