History of Spanish Literature, vol. 3 (of 3)Ticknor, George
History
History of Spanish Literature, vol. 3 (of 3)
Ticknor, George
Spanish literature -- History and criticism
It is in two acts; and the catastrophe--which consists of the confusion
of the author and his family at the failure of his performance--is
brought on with skill, and with an effect much greater than the
simplicity of the action had promised. The piece, therefore, was
received with a favor which even Moratin and his friends had not
anticipated. The poet, who is its victim, was recognized at once to
be Comella. Some of the inferior characters, whether justly or not,
were appropriated to other persons who figured at the time, and the
“New Play” was acknowledged to be a brilliant satire;--severe indeed,
but well merited and happily applied. From this time, therefore, which
was 1792, Moratin, notwithstanding the exasperated opposition of the
adherents of the old school, had secured for himself a permanent place
on the national stage, and, what is more remarkable, this little
drama, almost without a regular action and founded on interests purely
local, was, for the sake of its wit and originality, translated and
successfully represented both in France and Italy.[386]
[386] From a letter of Moratin, published in the Semanario
Pintoresco, (1844, p. 43,) it seems that Comella and his friends
prevented for some time the representation of the “Comedia
Nueva,” and that the permission to act it was not granted till it
had undergone five different examinations, and not till the very
day for which it had been announced was come. The applause of the
public, however, made amends to Moratin for the trouble which the
intrigues of his rivals and enemies had given him.
“The Baron,” which is in two acts and in verse, was at first prepared
to be sung; and, without the permission of the author, was altered
to an acting drama and performed in public during his absence from
Spain. On his return, he improved it by material additions, and
produced it again in 1803. It is the least effective of his theatrical
performances; but it triumphed over a cabal, which supported a drama
written on the same subject and represented at the same time, in order
to interfere with its success.
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