the end of the 17th century lyrics began to decay, but no author carried affectation and exaggeration to such a height as Gongora, 1561–1627: a gifted poet, full of charm in his simple compositions (vide translations by Archdeacon Churton), though most obscure in his Soledades and Polifemo. This style was called in Spain culteranismo, and not even the best dramatic authors of the 17th century were free from its defects. The imitators of Gongora continued until the 18th century, although here and there a poet like Rioja tried to check the movement.
Epic poetry in Spain is inferior to the dramatic and lyrical styles. The specimens which exist are cold and devoid of inspiration. El Monserrate, by Virues, La Cristiada, by Hojeda, La Vida de San José, by Valdivieso, and El Bernardo, by Balbuena, may be quoted as examples. La Araucana, by Ercilla, contains some poetical passages, but in general is hardly more than an historical narrative. La Gatomaquia, by Lope de Vega, though a burlesque, is considered by many critics the best epic poem in the Spanish language.
Dramatic literature unites, perhaps, the highest conditions of originality and power. Its earliest productions are the liturgical representations of the Middle Ages—Misterios or Autos.[1] Although works of this kind are mentioned as early as the 13th century, the first which have a distinct dramatic character are the Coplas de Mingo Revulgo and El Diálogo entre el Amor y un viejo. These compositions were written under the reign of Henry IV. At the latter part of the 15th century a series of dramatic works already existed. Juan de la Encina began the history of the Spanish drama. Lucas Fernandez was a contemporary writer, and shortly afterwards Gil Vicente. Torres Naharro, 1517, published his Propaladia, which contains eight comedies. Lope de Rueda founded the modern school, and he is imitated and improved by his followers. The drama does not attain its highest importance until Lope de Vega (1562–1635), the most prolific of Spanish poets. He tells us he had written 1500 plays, without counting Autos and Entremeses. Cervantes says that forty companies of actors existed at this time in Madrid alone, consisting of no less than 1000 actors. In 1636, 300 companies of actors acted in different parts of Spain. Lope de Vega is rather unequal as a dramatic author; but El mejor Alcalde el rey, La Estrella de Sevilla, La dama boba, La moza de cantaro, entitle him to rank among the best European dramatists. Three authors share Lope’s glory, Tirso, Calderon, and Alarcon.
No Spanish dramatist has surpassed Tirso in his facility of treating the most varied subjects in admirable versification. His comedy of Don Gil de las calzas verdes is as good as his dramas of El Rey Don Pedro en Madrid, El condenado por desconfiado, or El convidado de piedra. The popular type of Don Juan is taken from this drama. Alarcon is undoubtedly the most philosophical Spanish dramatist. His comedy, Las paredes oyen, is admirable, and La verdad sospechosa, so much admired by Corneille, as he tells us himself, when he took the plot for his Menteur. Calderon is the most popular dramatic author. He idealises more than his predecessors, and his genius embraces the most varied subjects. His comedies are charming; as examples, La dama
- ↑ See ‘Catalogo del Teatro antiguo Español,’ La Barrera, 1860.
