contents preface vii preface to the second edition ix introduction i

CONTENTS
PREFACE
VII
PREFACE TO THE SECOND EDITION
IX
INTRODUCTION
I
PART ONE
ROMANTIGISM IN LITERARY THEORY
CHAPTER I: 1700-1749
7
General attitude towards neo-classicism. Indications ota future controversy. Reaction to French criticism. Lesage's Le théatre espagnol. Du
Perron de Castera's extracts. Nationalistic opinión: Antonio de
Zamora. Opposition to the Diario de los literatos from Añorbe y
Corregel: his interpretation of Lope; apology for El Paulino. Traces
of nationalistic sympathies in Luzán and the Diarista. The Romantic philosophy of Feijóo. ' El no sé qué.' Other essays.
GHAPTER II: 1749-1760
23
First organized attacks against nationalism. Nasarre's ' Prólogo' and
new theory. Reply by Carrillo in La sinrazón impugnada. Erauso y
Zavaleta; summary of his Discurso crítico; his supporters. The Dictamen of Alejandro Aguado. Two other replies: Maruján's Romance
and Nieto de Molina's Obras en prosa. Progress of the neo-classicists.
Montiano's tragedies and discourses. Protests against them. Jaime
Doms' Carla to Montiano. Guevara's repiy. The national element
in the Academia del Buen Gusto. Porcel's Juicio lunática.
CHAPTER III: 1760-1770
Supremacy ofthe neo-classicists. Reform movement in the theatres.
Abolition of the autos. Controversy occasioned by El Pensador. Opposition from nationalists. The Romance lisoy llano. The Aduana critica.
Confusión ofíiterary theory. Nipho: his opponents; his conception
ofBuen Gusto; Cajón de sastre; his plan ofreform. The Diario extranjero;
La nación española. . . . Sebastián y Latre and the question of recasts.
Romea y Tapia. Further defence of national drama by Nieto de
Molina. His opinions ofthe lyric; preface to Elfabulero. Inventiva rara,
His dramatic theories. Obras en prosa: * Los críticos de Madrid.'
52
CHAPTER IV: I770-I800
99
Slackening ofneo-classical enbrt in the early 'seventies. New sources
of discord. Italian and French criticism. Effect on Spanish neoclassicists. Academic apologists: The Jesuit exiles, Eximeno,
Lampillas, Andrés, Arteaga, Masdeu, Colomés. Opinions of
scholars in Spain. Munárriz, Estala. Reprinting of Spanish classics.
The Poéticas of Santos Diez González and Sánchez Barbero. Polemics
occasioned by Huerta's Theatro Hespanol. The' Prólogo.' Critics ofthe
'Prólogo.' Huerta's replies. The Manifiesto por los teatros españoles of
García de Villanueva Hugalde y Parra: Carta censoria of Agamenón;
Fernández de Rojas' Crotalogía. The Press: La Pensadora gaditana; El
Apologista universal; El Correo de los ciegos; contributions of Lucas
Alemán in the Correo and Diario de las musas; other contributions to the
Correo, etc. The Memorial literario—the ' Carta apologética en defensa
de Fr. D. Félix Lope de Vega Carpió.' La Espigadera. Influence of
foreign criticism during the period.
PART TWO
ROMANTIGISM IN DRAMA AND
PROSE FIGTION
CHAPTER V: GENERAL TENDENCIES OF
EIGHTEENTH-CENTURY DRAMA
159
Reception of neo-classical drama in the theatres. Evidence of littie
progress of neo-classical reforms. Popularity ofGolden Age drama:
statistics. Predominance ofCalderón's over Lope's school. Press comments. Recasts of Sebastián y Latre. Later recasts. Vogue of Italian
opera. Reasons for the attraction of Metastasian opera. Adaptations
of Metastasian pieces. The comedia de magia and the growth of the
spectacular. Reasons for the decline ofpublic taste. Witnesses to the
popularity ofthe comedia de magia. El mágico de Salerno. Later comedias
de magia. Similarities between the comedia de magia and the comedia de
santos. Examination of the latter.
CHAPTER VI: INFLUENCES OF GOLDEN AGE DRAMA
Predonainance of cloak-and-sword action in all types. The comedia
200
de figurón. Early dramatists. Antonio de Zamora; his adaptation of
Tirso's El burlador de Sevilla; other plays.José de Cañizares. Minor
playwrights. Solano y Lobo's Introducción satisfactoria, disparaging
Aristotelian laws. General characteristics of mid-century drama.
Garcia de la Huerta's Raquel: sources; popularity; national elements. Moncin and Laviano. Tht sainetistas: Ramón de la Cruz and
González del Castillo. Their practical solution to the theatrical
problem.
CHAPTER VII: FORERUNNERS OF NINETEENTHCENTURY DRAMA: (a) THE SENTIMENTAL
DRAMA
220
Rise of sentimental drama: its foreign origin; definitions; relations
with romanticism. The sentimental drama in Spain not the direct,
national approach to the nineteenth century; the first Spanish sentimental drama, Jovellanos' El delincuente honrado. Development of the
genre: Comella's two forms of sentimental drama, domestic and
military; innovations in the latter. Sentimental plays of Valladares
de Sotomayor, Zavala y Zamora, and Rodríguez de Arellano.
CHAPTER VIII: FORERUNNERS OF NINETEENTHCENTURY DRAMA: (é) NATIONAL HEROIC
DRAMA
242
Rise ofthe new heroic play: its relations with the military play; the
two compared. The drama of Zavala y Zamora as the logical development of Golden Age drama. Examination of Zavala's heroic
drama: conclusions. Influence on contemporary dramatists: Cornelia; Rodríguez de Arellano; Valladares de Sotomayor.
CHAPTER IX: PROSE FICTION
National influences on the novel: Quevedo and Diego de Torres y
Villarroel: Visiones y visitas, etc. Influence ofthe picaresque novel on
Torres' Vida, Isla\Fray Gerundio and Rejón y Lucas' Aventuras de
Juan Luis. Bernardo de Calzada's Genealogía de Gil Blas. Influence of
the Quijote: Ribero y Larrea's Historia. . .del.. . caballero Don Pelayo,
etc. Imitations by Trigueros. Sensibility in the late-century novel.
Domestic epistolary fiction: Valladares' La Leandro. Francisco de
261
Tójar's La filosofa por amor. The novéls of Pedro Montengón. Parodies
of sentimental novéis. National qualities in the short story. Tertulia
de la aldea. Rodríguez de Arellano's El Decdmeron español. . . The
romanticism of Cadalso's Noches lúgubres.
PART THREE
ROMANTICISM IN LYRICAL AND
NARRATIVE POETRY
CHAPTER X: EARLY VERSE
283
Romantic characteristics in the early lyric. Imitations of Góngora
and Quevedo. A group of early writers: Álvarez de Toledo; Lobo;
Porcel. Use of melancholy by Verdugo y Castilla. Later poets.
Nicolás Fernández de Moratín: his minor lyrics; the romances; the
Quintillas.' The epic Las naves de Cortés destruidas: reasons for its
rejection by the Academy; Moratín's poern and the prize poem
compared. García de la Huerta: his romances, etc.; his use of melancholy and emotion. The nationalism of Moratin and Huerta.
CHAPTER XI: THE SALAMANCAN SCHOOL
308
The group of poets in Salamanca. Oider members. José Cadalso: his
affection for melodramatic posture. A founder of the group. Diego
Tadeo González: his popular poetry. Iglesias de la Casa: his Romantic
use of melancholy, emotion, etc. The determination of ofd and new
Romantic elements in his poetry. Comparison of Iglesias and Meléndez Valdés. Possibility of English influence on Meléndez Valdés.
The two points at which Meléndez Valdés touches romanticism.
Narrative romances. Meléndez Valdés greatest as a Classicist. Movement for freedom in the Salamancan school culminated in Nicasio
Álvarez de Cienfuegos. Cienfuegos' response to the spirit of lawlessness. Greatest as a Romantic. His characteristics: lack ofrestraint;
use of nature, movement, etc. Quintana as preserver of the Salamancan Classical tradition. Ways in which Quintana is affected by
ninteenth-century romanticism.
CHAPTER XII: THE SEVILLAN SCHOOL AND
TRANSITIONAL POETS
339
Comparison of the Sevillan with the Salamancan school. Aims of
the Academia de Letras Humanas. The poetry oftwo ofits founders,
Arjona and Reinoso. Francisco de Paula Castro. Romantic ideas of
Marchena and Blanco: their attitude towards the French Revolution. Lesser poets ofthe Sevillan school. Sevillan romanticism represented by Alberto Lista: his Golden Age models; political influences;
patriotic verse; subjectivity, etc. Poetry outside the two schools.
Influence of the Spanish War of Independence on the verse of the
period. Late patriotic poets: Sánchez Barbero; Arriaza; Gallego.
Other Romantic qualities in the work of these poets. Minor writers.
SELECT BIBLIOGRAPHY
371
GENERAL ÍNDEX
389