yet they show, on the whole, compared with the dramatic
productions of other countries, at least equal refinement, as they certainly do more inventive talent than we can point out elsewhere in our age.
Larra, the most discriminating critic of Spain, has observed of Breton, "that in nothing does his peculiar poetical talent shine more than in the simplicity of his plans. In all his comedies it is known that he makes a study and show of forming a plot extremely simple,—little or no action, little or no artifice. This is conceded to talent only, and to superior talent. A comedy, full of incidents, which any one invents, is easy to be passed off on a public always captivated by what interests and excites curiosity. Breton despises these trivial resources, and sustains and carnes to a happy conclusion, amid the continual laughter of the audience, and from applause to applause, a comedy based principally on the depicting of some comic characters, in the liveliness and quickness of repartee, in the pureness, flow and harmony of his easy versification. In these gifts he has no rival, though he may have them in regard to intention, profoundness or philosophy."
Ferrer del Rio says of him, "that he has cultivated a style so much his own, that at the first few verses of one of his works, the spectators cry out his name from all parts. Originality is thus one of the qualities that recommend him. He tyrannizes over the public, obliging them to cast away ill-humour, and laugh against their will from the time the curtain rises till the representation ends, and this the same whether in the comedies they applaud, or those they disapprove. He is consequently mirthful and witty in the extreme, and no one can dispute the palm with him under this consideration. None of his scenes fatigue from weariness; none of his verses fail of fullness and harmony; they do not
