PICARESQUE NOVEL). By degrees the picaresque See also:

• ROMANCE

In 1614 a sDUrious second See also:

• PART

His most incontestable merit is to have given the Spanish stage a range and scope of which it had not been previously thought capable, and of having taught his contemporaries to invent dramatic situations and to carry on a See also:

• PLOT
• PLOT, ROBERT (164o-1696)

His most philosophic drama, La See also:

• VIDA, MARCO GIROLAMO (c. 1489-1566)

1635); that of the revolt of the same Catalans during the reign of Philip IV., by Francisco See also:

• MANUEL, EUGENE (1823–1901)
• MANUEL, JACQUES ANTOINE (1775-1827)
• MANUEL, LOUIS PIERRE (1751-1793)

Ascetic and mystical authors alone made use of the vulgar See also:

• TONGUE (O. Eng. lunge)

The most eminent author in the department of social satire, as in those of See also:

• LITERARY

The first symptoms, not of a revival, but of a certain resumption of intellectual See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

The lyric poetry of this period is colourless when compared with its variegated splendour in the preceding century. Nevertheless Poetry. one or two poets can be named who possessed refinement of taste, and whose collections of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

Not only the afrancesados (as those were called who had accepted the new regime), but also the most ardent partisans of the patriotic cause, continued in literature to be the submissive disciples of France. Quintana, who in his odes preached to his compatriots the See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

The first of these is Mesonero See also:

• ROMANOS

See also:

• NUNEZ, PEDRO (PETRUS NoNlUS) (1492—1577)

1851) and See also:

• RICARDO, DAVID (1772-1823)

18J3), whose Pedro Abelardo and Dos cetros y dos almas re-call the dignity but not the impeccability of his model. Another See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

1874), who, under the pseudonym of " Larmig," wrote verses impregnated with See also:

• CHRISTIAN
• CHRISTIAN, WILLIAM (1608-1663)

In all that concerns truth and art she is See also:

• SUPERIOR

Pereda is realistic, and he is real. His See also:

• RIVAL

Leopoldo Alas (1851-1901), who used the pseudonym of " Clarfn, " was better known as a ruthless critic than as a novelist; the interest of his shorter stories has evaporated, but his ambitious novel, La Regenta, lives as an original study of the relation between mysticism and See also:

• PASSION (post-classical Lat. passio, formed from pati, passus, to suffer, endure)

Blasco Ibanez lacks taste and See also:

• JUDGMENT

Joaquin Costa's Estudios ibericos (1891) and Colectivismo agrario en Espana (1898) have been praised by experts for their minute research and exact erudition; but his Poesia popular espanola y mitologia y literatura celto-hispanas, in which a most ingenious attempt is made to reconstitute the literary history of a remote period, appeals to a wider circle of educated readers. The monographs of Francisco Codera y Zaidin (b. 1836), of Cesareo Fernandez Duro (1830-1907), of Francisco Fernandez y Gonzalez (b. 1833), of Gumersindo Azcarate (b. 1840), and of many others, such as the Jesuit epigraphist Fidel Fita y Calome, are valuable contributions to the still unwritten history of Spain, but are addressed chiefly to specialists. Many of the results of these investigators are embodied by Rafael Altamira y Crevea (b. 1866) in his Historia de Esparta y de la See also:

• CIVILIZATION

1869), author of La Leyenda de los infamies de See also:

• LARA

Vidal and other grammarians of his school, as well as that of the troubadours we have named, was enduring; and even after Catalan prose—an exact reflection of the spoken language of the See also:

• SOUTH
• SOUTH, ROBERT (1634–1716)

(1410-1416), kings of century. Aragon, there was founded at Barcelona a See also:

• CONSISTORY (Lat. consistorium, literally, a standing place, hence meeting place, waiting or audience chamber)

The fact that a Catalan, Juan Boscan, inaugurates in the Castilian language a new kind of poetry, and that the Castilians themselves regard him as the head of a school, is important and characteristic; the date of the publication of the works of Boscan (1543) marks the end of Catalan poetry. The earliest prose works in Catalan are later than the poems of the oldest Catalan troubadours of the Provencal school; these prose writings date no further back than the prose of close of the 13th century, but they have the advan- 13th-15th tage of being entirely original. Their language is centuries. the very language of the soil which we see appearing in charters from about the time of the See also:

• ACCESSION (from Lat. accedere, to go to, to approach)

We have chiefly translators and historians in the 15th century. Antoni Canals, a Dominican, who belongs also to the previous century, translates into Catalan See also:

• VALERIUS, PUBLIUS

Neither Hieronim Pujades, author of an unfinished Coronica universal del See also:

• PRINCIPAL

In spite of the unquestionable talent of poets like Mariano Aguil6 (Majorca), Teodoro See also:

• LLORENTE, JUAN ANTONIO (1756-1823)