This portion of the history of Spanish dramatic poetry must not be terminated without a particular notice of two tragedies by Geronymo Bermudez, a Dominican monk of Galicia, who, at the period when he wrote them, was probably the inmate of a cloister.[295] He did not think proper to acknowledge himself the author of these dramas, and he published them under the assumed name of Antonio de Silva.[296] Among his other poetical works, some Spanish writers mention in terms of respect, a dull encomium on the Duke of Alba, of whom this ecclesiastic was an enthusiastic admirer.[297] He lived until the year 1589. His two tragedies are imitations of the ancient drama, but they must not be confounded with the essays of the same kind, which have already been mentioned. Bermudez conceived the happy idea of selecting a subject from the history of Spain and Portugal, and dramatizing it according to the rules of the Greek tragedy, without destroying the modern character of his materials. The well known story of the unfortunate Ines de Castro, seemed particularly suited to the object he had in view. Being a Galician, he had, through his native language, a national relationship to Portugal, and he consequently took more personal interest in the tragical fate of his heroine, than was felt by Spaniards in general. He did not commence his task without apprehension of its success; for, as a Spaniard, he wished to write in Castilian, and he was, therefore, in some measure, under the necessity of studying a foreign language. This difficulty he mentions in his preface. But with all its faults, his attempt proved so fortunate, that his two tragedies may justly be styled the first in their kind. Though they are intimately connected, yet each forms in itself a complete tragic drama. Their titles are whimsical and affected: the first is denominated, _Nise Lastimosa_, (the Lamentable Nise); and the second, _Nise Laureada_, (Nise Crowned with Glory).[298] The characters preserve their historical names. The first of these tragedies sufficiently proves what may be effected by a poet, even of moderate talent, when thoroughly penetrated with a poetic subject, and at the same time possessing the power of expression. The Nise Lastimosa, it is true, is far from approaching the ideal of tragic perfection; but some of the scenes fulfil all that the theory of the dramatic art can require; and energy and dignity of expression are not wanting even in those passages where the action is tedious and the incidents ill-connected. The plot is simple, and towards the conclusion its interest declines. But Bermudez has introduced, with alternate instances of remarkable dexterity and clumsiness, a chorus composed of Coimbran women, which is sometimes interwoven with the action of the drama, and sometimes quite independent of it. The unities of time and place the author has totally disregarded. The first act opens with a soliloquy by the Prince Don Pedro, which is beautiful, though