The French taste spontaneously penetrated into Spanish literature when the age of Louis XIV. began to exercise an imposing influence over the whole world. But the French taste would have operated on the literature of Spain, which had already been carried so far beyond that of France, in a very different manner, had not the old national energy been crippled in every direction. Had it not been for this unfortunate circumstance crowds of servile imitators and pseudo critics would never have obtained a footing in Spain. Men of rightly cultivated understanding would have reconciled their purer taste to the yet unexhausted national genius, in order to enhance the advantages of Spanish literature in its competition with the literature of France, and to learn true elegance from the French, without, like them, sacrificing to mere elegance beauties of a higher order. But the age of vigour was past; and yet feeble pride would in no respect renounce its pretensions. Two parties now arose in the polite literature of Spain. The leading and would-be elegant party, included persons of rank and fashion, who had begun to be ashamed of the ancient national literature, and who yet wished to prove that that national literature, even when estimated according to the rules of French criticism, possessed many beauties. That the French might no longer boast of superior taste, this party sought to improve Spanish poetry, and particularly the Spanish drama, by translations of French works and imitations of the French style. To this party of fashionable innovators was opposed the old national party, composed of persons distinguished for their obstinate attachment to the ancient taste, and even to the ancient rudeness. This party continued, as heretofore, to be that of the Spanish public; but it remained for a time without any literary representative. Thus was it reduced to the necessity of seeing writers, who laid claim to the title of Spanish patriots, publicly attack its old favourites, particularly Lope de Vega and Calderon, while no zealous pen took up their public defence. Nevertheless this party continued unshaken in its opinions. Even during the extreme crisis of the conflict between the French and the national taste, about the middle of the eighteenth century, the Spanish theatre preserved its own peculiar forms. It assumed, however, a character no less varied than the German theatre at present exhibits. Plays in the national style were performed on the Spanish stage alternately with translations and imitations of French and even of English dramas; and if this heterogeneous variety did not degenerate into the monstrous, as it now does on the German stage, where a national style never prevailed, yet nothing could be more inconsistent than the contrast formed by plays in the French and English taste with the old Spanish comedies. But these comedies, and in general all the old national poetry, once more