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These plays were not as enthusiastically received as El Trovador, and Gutiérrez regarded the public as unjust to him. In 1844 he went to Havana, and thence to Mérida de Yucatán; returning to Spain after five years' absence. He died August 26, 1884. El Trovador is undoubtedly Gutiérrez' masterpiece. Interest in the play is quickly aroused, and well sustained by the rapidity of the action.

duced by Chuck Greif Morsamor: peregrinaciones heroicas y lances de amor y fortuna de Miguel de Zuheros y Tiburcio de Simahonda Por Juan Valera Librería de Fernando Madrid Al Excmo. Sr. Conde de Casa Valencia

So the style like the action never settles in dull monotony, which, be it ever so beautiful, ends by wearying the audience. The great master put diversion into every thought and filled the listener with rapture by the versatility and beauty of his inimitable style. One of the secrets of Lope's influence over his contemporaries is to be found in his versification.

More violent than Don Diègue, who is restrained by the decorum of the French classic theater, more tearful than Don Diego of las Mocedades, who, after a passionate soliloquy, rather coolly tests the valor of his sons, ending by biting the finger of "el Cid," Don Bernardo appears first upon the stage in tears and frequently, during the only scene in which he figures, gives way to his grief.

Thus we find that in 1585 Spain had a divided drama, represented on the one side by the drama of reason and proportion fashioned after Greek and Roman models, and on the other a loosely joined, irregular, romantic drama of adventure and intrigue, such as was demanded by the Spanish temperament.

Before this time he was known as a great author and worshiped by the element interested in the drama, but on both these occasions he had an opportunity to declaim his incomparable verses and those of the other contesting poets, revealing his majestic bearing and versatility to the great populace of Madrid, his native city.

The references to this extensive work are usually made by means of the titles of the separate volumes. Particularly is this true of the references to the dramas of Lope de Vega, which, under the title of Comedias Escogidas de Lope de Vega, include volumes 24, 34, 41, 52 of the work. Obras Escogidas de Frey Lope Félix de Vega Carpio, con prólogo y notas por Elías Zerolo, Paris, 1886, Vol.

O., Band I, S. 267. Journal historique de M. Lesseps an Kamtschatka, páginas 101 á 104. Choris, Voyage pittoresque autour du monde, pág. 9. A. Burnes, Travels into Bokhara, vol. II. Cyries Malerische Reise in Asien, deutsche Ausgabe, S. 120. Milbert, Voyage pittoresque á l'Ile de France, tomo II, pág. 183. Benares Illustrated by James Prinsep. London, 1831-32, 3.ª serie.

=Echó una carrerita=, advanced a short distance. =Después de cambiadas=, after having exchanged. =Echó a correr=, started to run. =Que era la que pensaba seguir=, which was the one he intended to follow. =A me de daba=, note the redundant personal pronoun. =De parte de Luisa, que =, by order of Luisa, yes. =Rompió a sollozar=, broke out sobbing.

The historical romance has now taken a secondary place in fiction; but it was cultivated till quite recently by so virile and popular a writer as Pérez Galdós.