DRAMA. 



99 



Dwnuk 



a compensation to the mob for the dullness of the 

 autos. The intermedes are burlesque from beginr.ing 

 to end. This description of farces, taken entirely from 

 the" sphere of common life, was so popular in Spain, 

 that no piece could be brought on the stage without 

 one of them to recommend it. To sum up the drama- 

 tic character of Lope de Vega, we shall only quote the 

 words of Lord Holland from his life of the poet. " The 

 haracter of most temperate critics, while they acknowledge his de- 



Dramatic 



I^ope de 

 Vega. 



Pedro Cal 



deron. 



fects, pay a just tribute of admiration to the fertility of 

 his invention, the happiness of his expressions, and the 

 purity of his diction. All agree that his genius reflects 

 hoikmr on his country, though some may be disposed 

 to question the beneficial influence of his works on the 

 taste and literature of their nation. Indeed, his careless 

 and easy mode of writing made as many poets as po- 

 ems. He so familiarised his countrymen with the me- 

 chanism of verse, he supplied them with such a store 

 of common-place images and epithets, he coined such a 

 variety of convenient expressions, that the very facility 

 of versification seems to have prevented the effusions of 

 genius, and the redundancy of poetical phrases to have 

 * superseded all originality of language. But the effect 

 of Lope's labours must not be considered by a refer- 

 ence to language alone. For the general interest of 

 dramatic productions, for the variety and spirit of the 

 dialogue, as well as for some particular plays, all mo- 

 dem theatres are indebted to him. Perfection in any 

 art is only to be attained by successive improvement ; 

 ;ind though the last polish often effaces the marks of 

 the preceding workman, his skill was not less necessa- 

 ry to the accomplishment of the work, than the hand of 

 his more celebrated successor. Had Lope never writ- 

 ten, the master-pieces of Corneille and Moliere might 

 never have been produced ; and were not these celebra- 

 ted compositions known, he might still be regarded as 

 one of the best dramatic authors of Europe." Life of 

 Lope de Vega, p. 229. et seq. 



The name of Pedro Calderon forms the next great 

 epoch in the history of the Spanish drama. His coun- 

 trymen generally consider him as the sovereign genius 

 of their stage ; and some Geim-ci critics have not hesi- 

 tated to place him at the head of all modern dramatists. 

 The number of tragedies, comedies, and farces, which 

 he composed, has been differently estimated ; but all 

 accounts agree in representing them as exceedingly nu- 

 merous. A most eloquent elogi- on this writer has been 

 given by the celebrated Mr Schlegel, a part of which 

 Las appeared in the last work of Madame de Stael. 

 Even those who go not so far as Mr Schlegel in idoliz- 

 ing Jus genius, seem to agree to his general superiority 

 over Lope de Vega himself, in combination of plot, 

 in imbroglios, and in the invention of interesting situ- 

 ation*. The palm of finer invention seems to be uni- 

 versally accorded to him : and with art and taste, whe- 

 ther in plan, execution, or style, it may be said that 

 he created a new species of comedy. An air of deli- ' 

 cacy and dignity breathes in his heroic pieces a high- 

 er strain of sentiment ; and though the Spanish stage 

 in, from its rapid intrigue, unsuited to the display of 

 character, yet amidst the complexity and whirl of its 

 action, he is allowed to produce traits of character 

 which frequently give a deep insight into the hearts of 

 his personages. A lively and bewitching dialogue, a 

 delicious versification, and a subtlety almost inconceiv- 

 able, in the texture of his plots, are tile merits which 

 his admirers challenge for him, above all other poets 

 of the modern world. This merit of ingenious con- 

 trivance of plot, is indeed with him, and the mosfof 

 Spanish writers, carried to a degree which a north* 



ern temperament has not curiosity to follow. The in- Drama, 

 terest which many Spanish plots excite, is so labyrin- ^^"Y"""*^ 

 thical, that the comprehension of them becomes a fa- 

 tigue. But in this case, we must consider a poet as 

 addressing himself to his countrymen ; and the mind 

 of a Spaniard, whether from an idler life, that gives 

 him more practice in aerial castle-building, or from an 

 imagination constitutionally more ardent, which invigo- 

 rates his memory, has an easy delight in pursuing a 

 dramatic story, which, to an Englishman or a French- 

 man, would be wholly unintelligible. 



We are told by a credible traveller, that all Spa- 

 niards, without distinction, are so expert in following 

 the thread of a plot, in its subtlest ramifications, that 

 a common spectator, after having seen a piece perform- 

 ed, will repeat to you its whole contents in detail, 

 while an intelligent stranger, the most familiarly ac- 

 quainted with their language, can scarcely connect in 

 his comprehension a few of the scenes. It is confessed, 

 however, by judges, who, if they are far inferior to 

 Mr Schlegel in the eloquence of enthusiasm, are no less ' ' 

 intimately acquainted with the extensive drama of Cal- 

 deron, (in itself the study of half, a lifetime )j that 

 though he has the greatest talent in accumulating sur- 

 prises, in linking together the most interesting situa- 

 tions, and in keeping curiosity alive, he is even less 

 careful than Lope himself to connect his scenes with 

 probability, or in giving motives and necessity to the 

 entrance and exits of his personages. Even while 

 the harmony of versification is admitted, sufficient 

 proofs have been extracted by the critics, who have 

 viewed him less favourably, that his finest pieces abound 

 with monstrous depravations of style, to which the con- 

 cetti of the Italians is comparative simplicity. Cal- 

 deron lived at the miserable epoch of Philip IV. 

 and in his works there often breathes a ferocity of re- 

 ligious fanaticism which is truly horrible. One of his 

 pieces is entitled " The Devotion of the Cross." The Account of 

 object of it was, to convince all Christian specta- Calderon's 

 tors, that devotion for the standard of the church suf- Devotion of 

 fices to atone for all crimes, and to insure the protec- * 

 tion of God. The hero, Eusebio, is an incestuous free- 

 booter, an assassin by profession, but who raises the 

 cross as an expiation for all his atrocities, on the tombs 

 of each of his victims. The heroine, Julia, who is at 

 once his sister and his mistress, more abandoned and 

 more ferocious, if possible, than himself, participates 

 in the same devotion for the sacred sign. He is finally 

 killed in a conflict which he maintains against the troops 

 of his own father ; but he is raised from the dead, that 

 a religions saint may hear his confession, and also in- 

 sure his reception into heaven. His sister, when on 

 the point of being taken, and made a victim to her 

 enormities, embraces a cross which she finds before 

 her, and makes a vow to return to a convent, and mourn 

 for her transgressions. This cross immediately raises 

 her up in the air, and carries her away, far from 

 his enemies, to an impenetrable asylum. By those who 

 have compared his voluminous pieces, that of his tra- 

 gedy of Don Fernand is said to be the one in which His tragf . 

 he has, put forth the greatest power of his genius. The dy of Don 

 Spanish title is " El Principe Conslante." The unities 

 of time and place are not observed ; 'and, what is still 

 worse, the unity of action, though preserved to a cer- 

 tain length, is ultimately violated. .. But as far as that 

 unity goes, the story is greatly interesting and affect- 

 ing. Don Fernand, Prince of Portugal, makes a de- 

 scent upon the coast of Africa, accompanied by his 

 brother Don Henry. He attacks the states of the King 

 of Morocco, and is conqueror in the first battle, in 



