But he was not destined long to enjoy it. The troubles of his country were already begun, and in three years the French were its temporary masters. He prepared, indeed, afterwards two spirited translations from Molière, with alterations that made them more attractive to his countrymen; one from the “École des Maris,” which was acted in 1812, and the other from the “Médecin Malgré Lui,” which was acted in 1814; but, except these and an unfortunate prose version of Shakspeare’s “Hamlet,” which was printed in 1798, but never performed, he wrote nothing for the theatre except the five comedies already noticed. These, if they form no very broad foundation for his fame, seem yet to constitute one on which it may rest safely; and, if they have failed to educate a school strong enough to drive out the bad imitations of the old masters that have constantly pressed upon them, have yet been able to keep their own place, little disturbed by the changes of the times.[387] [387] Every thing relating to Moratin the younger is to be found in the excellent edition of his Works, published by the Academy of History. Larra (Obras, Madrid, 1843, 12mo, Tom. II. pp. 183-187) intimates that the “Mogigata” had been proscribed anew, and that the “Sí de las Niñas” had been mutilated, but that both were brought out again, in their original form, about 1838. That the Spanish drama, during the century which elapsed between the establishment of the House of Bourbon on the throne and the temporary expulsion of that house from Spain by the arms of Bonaparte, had, in some respects, made progress, cannot be doubted. More convenient and suitable structures for its exhibitions had been erected, not only in the capital, but in all the principal cities of the kingdom. New and various forms of dramatic composition had been introduced, which, if not always consistent with the demands of the national genius, nor often encouraged by the general favor, had still been welcome to the greater part of the more cultivated classes, and served both to excite attention to the fallen state of the theatre generally, and to stir the thoughts of men for its restoration. Actors, too, of extraordinary merit had from time to time appeared, like Damian de Castro, for whom Zamora and Cañizares wrote parts; Maria L’ Advenant, who delighted Signorelli in the higher characters of Calderon and Moreto; the Tirana, whose tragic powers astonished the practised taste of Cumberland, the English dramatist; and Maiquez, who enjoyed the friendship and admiration of nearly all the Spanish men of letters in his time.[388]