Another patriotic singer is the priest, JUAN NICASIO GALLEGO (1777-1853), who, like many political liberals, was so staunchly conservative in literature that he condemned _Notre Dame de Paris_ in the very spirit of an alarmed Academician. Slight as is the bulk of his writings, Gallego's high place is ensured by his combination of extreme finish with extreme sincerity. His elegy _On the Death of the Duquesa de Frias_ is tremulous with the accent of profound emotion; but he is even better known by _El Dos de Mayo_, which celebrates the historic rising of the second of May, when the artillerymen, Jacinto Ruiz, Luis Daoiz, and Pedro Velarte, by their refusal to surrender their three guns and ten cartridges to the French army, gave the signal for the general rising of the Spanish nation. His ode _Á la defensa de Buenos Aires_, against the English, is no less distinguished for its heroic spirit. There is a touch of irony in the fact that Gallego should be best represented by his denunciation of the French, whom he adored, and by his denunciation of the British, who were to assist in freeing his country. Time has misused the work of FRANCISCO MARTÍNEZ DE LA ROSA (1788-1862) who at one time was held by Europe as the literary representative of Spain. No small part of his fame was due to his prominent position in Spanish politics; but the disdainful neglect which has overtaken him is altogether unmerited. Not being an original genius, his lyrics are but variations of earlier melodies: thus the _Ausencia de la patria_ is a metrical exercise in Jorge Manrique's manner; the song which commemorates the defence of Zaragoza is inspired by Quintana; the elegy _On the Death of the Duquesa de Frias_, far short of Gallego's in pathos and dignity, is redolent of Meléndez. His novel, _Doña Isabel de Solís_, is an artless imitation of Sir Walter Scott; nor are his declamatory tragedies, _La Viuda de Padilla_ and _Moraima_, of perdurable value any more than his Moratinian plays, such as _Los Celos Infundados_. Martínez de la Rosa's exile passed in Paris led him to write the two pieces by which he is remembered: his _Conjuración de Venecia_ (1834), and his _Aben-Humeya_ (the latter first written in French, and first played at the Porte Saint-Martin in 1830) denote the earliest entry into Spain of French romanticism, and are therefore of real historic importance. Fate was rarely more freakish than in placing this modest, timorous man at the head of a new literary movement. Still stranger it is that his two late romantic experiments should be the best of his manifold work.