On the 15th of May, 1834, his elder brother died without children; and Angel Saavedra thereupon succeeded to his honours as Duke de Rivas, and to the family estates entailed with the title. As a Grandee of Spain, the new Duke had to take his place in the Chamber of Peers, where he was chosen, on the 24th of July following, second Secretary, and shortly after, first Secretary of the Chamber and Vice-President. Here again, as formerly in the Cortes, he then took his part in the public debates, having on several occasions shown himself to possess great oratorical abilities. One speech he made on the exclusion of Don Carlos and his descendants from the Spanish throne, has been particularly mentioned as combining much eloquence with high political considerations. But notwithstanding his elevation and parliamentary duties, he still continued his literary pursuits. Having finished the Tragedy of ‘Don Alvaro,’ he now brought it forward, and it is not too much to say that never had a drama been produced in Spain of so high a character, or that was attended with such success. At first it was received with wonder, then with long and loud applause; it was repeated at every theatre in Spain, and still continues to excite the admiration of audiences, casting into the shade all his former dramatic productions, and in fact causing a revolution in the dramatic art of the Spanish stage. The old worn-out characters and constantly recurring self-same incidents that had encumbered the scenes have since been swept away, and a higher tone has been in consequence adopted by later writers, though still this remarkable production remains without a rival on the Spanish stage. Yet it is not without faults, and it has been subjected to severe criticisms; but on the representation, so absorbing is the interest which it is said to excite, that all faults are lost sight of in admiration. The subject of the drama is that of the old Greek tragedy, Fatality. Don Alvaro is an Œdipus, destined for misfortune, and not even religion can save him from his mission of crime. “It is a character which belongs to no determinate epoch, perhaps more universal in this as it belongs to all, like the heroes of Shakespeare.” There can be no question but that it was the study of Shakespeare which elevated his genius to the production of this masterpiece of the modern Spanish theatre, as had the study of Walter Scott and Byron enabled him to give the world the great poem of the ‘Moro Esposito.’