Cadahalso, the friend whom we have already noticed as much under the influence of Moratin, went one step further in his imitation of the French masters. His “Don Sancho Garcia,” a regular, but feeble, tragedy, printed in 1771 and afterwards acted, is written in long lines and rhymed couplets; an innovation which could hardly fail to be accounted monotonous on a stage, one of whose chief luxuries had so long been a wild variety of measures. Nor did more favor follow an attempt of Sebastian y Latre to adjust to the theories of the time two old dramas, still often represented,--the one by Roxas and the other by Moreto,--which he forced within the pale of the three unities, and for the public representations of one of which, Aranda, the minister of state, paid the charges. Like the subsequent attempts of Trigueros to accommodate some of Lope de Vega’s plays to the same system of opinions, it was entirely unsuccessful. The difference between the two different schools was so great, and the effort to force them together so violent, that enough of the spirit and grace of the originals could not be found in these modernized imitations to satisfy the demands of any audience that could be collected to listen to them.[373] [373] I know the plays of Moratin, the elder, only in the pamphlets in which they were originally published, and I believe they have never been collected. The “Don Sancho Garcia” was first printed in 1771, with the name of Juan del Valle, and in 1804 with the name of its author, accompanied the last time by some unfortunate prose imitations of Young’s “Night Thoughts,” and other miscellanies, which follow it into the third volume of their author’s works, 1818. Latre’s _rifacimenti_ are printed in a somewhat showy style, probably at the expense of the minister of state, Aranda, under the title of “Ensayo sobre el Teatro Español,” Madrid, 1773, small folio. Latassa (Bib. Nueva, Tom. V. p. 513) gives some account of their author, who died in 1792. The “Anzuelo de Fenisa” and the “Estrella de Sevilla,” as set to the three unities by Trigueros, were printed both in Madrid and London. Of the last person, Candido M. Trigueros, it may be added, that he enjoyed a transient reputation in the latter part of the eighteenth century, and that his principal work, “La Riada,” in four cantos of irregular verse, (Sevilla, 1784, 8vo,) on a disastrous inundation of Seville that had just occurred, was demolished by a letter of Vargas, and a satirical tract which Forner published under the name of Antonio Varas. I do not know when he died, but an account of most of his life and many of his works may be found in the Biblioteca of Sempere y Guarinos, Tom. VI.