The theatre, which forms elsewhere such an important item in passing the stranger’s evening, is at a low ebb in Spain, although, as everybody is idle, and man is not worn out by business and money-making all day, it might be supposed to be just the thing; but it is somewhat too expensive for the general poverty. Those again who for forty years have had real tragedies at home, lack that superabundance of felicity, which will pay for the luxury of fictitious grief abroad. In truth the drama in Spain was, like most other matters, the creature of an accident and of a period; patronised by the pleasure-loving Philip IV., it blossomed in the sunshine of his smile, languished when that was withdrawn, and was unable to resist the steady hostility of the clergy, who opposed this rival to their own religious spectacles and church melodramas, from which the opposition stage sprung. Nor are their primitive mediæval Mysteries yet obsolete, since we have beheld them acted in Spain at Easter time; then and there sacred subjects, grievously profaned to Protestant eyes, were gazed on by the pleased natives with too sincere and simple faith even to allow a suspicion of the gross absurdity; but everywhere in Spain, the spiritual has been materialised, and the divine degraded to the human in churches and out; the clergy attacked the stage, by denying burial to the actors when dead, who, when alive, were not allowed to call themselves “_Don_,” the cherished title of every Spaniard. Naturally, as no one of this self-respecting nation ever will pursue a despised profession if he can help it, few have chosen to make themselves vagabonds by Act of Parliament, nor has any Garrick or Siddons ever arisen among them to beat down prejudices by public and private virtues. [Sidenote: ANCIENT DRAMA.]