counteracting the ill effects which could not fail to be occasionally produced by such examples, though they were by no means set up as models. The fascinating natural painting of these intrigues, which at the same time always possess a certain poetic elevation, constitutes the chief charm of Lope de Vega’s comedies. The deviation from nature in expression, which has frequently been a subject of reproach to this prolific writer, is in most instances merely attributable to negligence or rapidity of composition. He faithfully embodies the general forms of character, which, to be sure, are all alike in the class of Spanish comedies now under consideration. The _vejete_ (old man), the _galan_ (lover), the _dama_ (young lady), together with a suitable number of servants and waiting women, are the standing characters which are constantly introduced with no variety, except in the situations; but at the same time, they are drawn in such animated colours, that the perusal of one or two of these dramas of intrigue is sufficient to render the reader familiar with the whole world which the poet describes. In Lope’s comedies, as in real life, the (_gracioso_) buffoon and the fool are occasionally the same character. They have also superfluous parts; personages totally unconnected with the business of the drama are sometimes introduced. In order to afford an idea of the composition of this portion of the dramatic works of Lope de Vega, we may select, as a specimen, the comedy entitled, _La Viuda de Valencia_ (the Widow of Valencia). It is one of the pieces of this master in the art of intrigue in which the complication is best contrived, and it is besides remarkable in the class to which it belongs for the unity which is preserved in the action. The scene is laid in Valencia in the time of the carnival. Leonarda, a young rich and handsome widow, living according to her own fancy, has resolved never to re-marry. She enters with a book in her hand; for she reads works of all sorts, sacred and profane, not from piety or love of literature, but merely to amuse herself, while she never deigns to bestow a thought on the suitors by whom she is surrounded. On the subject of her reading she discourses very reasonably with her waiting woman.[367] Her arch attendant turns the conversation in such a way, that the young widow, with all her pretended wisdom, is induced to view herself in a looking glass, and in the very act of doing so, she is surprised by a visit from her uncle. The old gentleman assures his fair niece, who is highly vexed at the surprise, that she does well to convince herself of the power of her charms by such indisputable testimony.[368] When, however, he begins to talk of marriage, the lady contemptuously sketches a burlesque portrait of a Madrid beau,[369] and describes, though in a less happy style the unfortunate consequences of an imprudent match. The old uncle takes his leave, and the scene changes, or rather it is