On a comparison of the dramas of Calderon and Lope de Vega, it requires no extraordinary critical penetration to discover the essential services which the former rendered to the dramatic literature of Spain. Which of these writers possessed the greater share of inventive talent, is a question which it would be difficult to determine, for Lope de Vega was not the inventor of that species of dramatic composition which was common to both, and Calderon was not behind him in the invention of new combinations of intrigue, ingenious complexities of plot, and interesting situations. In general the invention of Lope may be the bolder, but it is also the more rude of the two; and with regard to whatever may be called refinement, whether in conception or execution, but more particularly in style, Calderon formed for himself an entirely new sphere. The delicate art with which he gave the last polish to the Spanish drama, without changing its nature, carries with it an ennobling dignity in some of his historical, or, as they are styled, heroic comedies. In his comedies of intrigue this delicacy is conspicuous in the execution of the general forms of character, which had now become naturalized on the Spanish stage, and which usurped the place of individuality. Calderon’s comedies are necessarily as little pieces of character as those of Lope de Vega, for with the delineation of particular character they would have ceased to be pure dramas of intrigue. But they abound in characteristic traits, in those traits which develope, as it were, out of the souls of the dramatic personages, the natural course of the gay intrigue in all its various modifications. As an acute observer of the female mind and manners Calderon was infinitely superior to Lope de Vega. This delicacy of observation accords admirably with the almost incredible subtlety of his combinations of intrigue; and the elegance of his language and versification complete the ingenious harmony of these apparently irregular dramas, which though not sufficiently perfect to be regarded as models, are nevertheless true to the rules which the author prescribed to himself. The other merits which belong to his dramas, such as the seductive gracefulness and facility of the dialogue, Calderon shares in common with all the good dramatic writers of Spain. The faults with which he may be reproached, and which in some measure belong to the species of drama he adopted, are more numerous in some of his pieces than in others. It must also be observed, that in some of his heroic comedies, he sinks so completely beneath his own standard that it is difficult to recognize him.