river Duero, or Durius, on whose banks Numantia stands. The old river god appears, attended by a retinue of the deities of the smaller rivers of the surrounding country. These ideal characters consult the book of fate, and discover that Numantia cannot be saved. Whatever may be said against the bold idea of endeavouring to augment the tragic pathos by means of allegorical characters, it must be acknowledged that in this case the result of the experiment is not altogether unsuccessful, and Cervantes justly prides himself in the novelty of the idea. The scene is now transferred to Numantia. The senate is assembled to deliberate on the affairs of the city, and among the members the character of Theagenes shines with conspicuous lustre. Bold resolutions are adopted by the senate. The transition into light redondillas, for the purpose of interweaving with the serious business of the fable, the loves of a young Numantian named Morandro, and his mistress, is certainly a fault in the composition of the tragedy. But to this fault we are indebted for some of the finest scenes in the following act. A solemn sacrifice is prepared; but amidst the ceremony an evil spirit appears, seizes the victim, and extinguishes the fire. The confusion in the town increases. A dead man is resuscitated by magic, and the scene in which this incident occurs has a most imposing effect.[354] All hope has now vanished. After the return of a second unsuccessful embassy, the Numantians, by the advice of Theagenes, resolve to burn all their valuable property, then to put their wives and children to death, and lastly to throw themselves in the flames, lest any of the inhabitants of the town should become the slaves of the Romans. Scenes of the most heart-rending domestic misery, and the noblest traits of patriotism then ensue.[355] Famine rages in Numantia.[356] Morandro, accompanied by one of his friends, ventures to enter the Roman camp. He returns with a piece of bread smeared with blood, and, presenting it to his famished mistress, falls at her feet mortally wounded.[357] The action proceeds with unabated interest to the end. An allegorical character of Fame enters at the close of the piece, and announces the future glory of Spain. Allegorical characters, for instance, Necessity and Opportunity, likewise appear in Cervantes’s comedy, _El Trato de Argel_ (Life in Algiers, or Manners in Algiers). But their introduction amidst scenes of common life injures the story, which is besides by no means ingenious, and imparts a cold and whimsical character to the piece. This comedy, however, which is divided into five acts, is not destitute of interest and spirit.