γενοίμαν, ἵν’ ὑλᾶεν ἔπεστι πόντου πρόβλημ’ ἁλίκλυστον, ἄκραν ὑπὸ πλάκα Σουνίου, τὰς ἱερὰς ὅπως προσείποιμεν Ἀθάνας. The dedication to Mr. Frere has the singularity of being written in the English language. The ‘Ode to the Lighthouse at Malta’ is another exemplification of the Duke’s patriotic feeling, as well as the poem of ‘The Exile,’ which has been translated into English by Mr. Reade. One of his latest works is in the form of a drama, but, like those of Lord Byron, it is not intended for the stage. It is entitled, ‘Undeception in a Dream,’ and represents the life of man, contrasting its vicissitudes and events with his hopes and desires. Like the tragedy of ‘Alvaro,’ it is a highly poetical conception, and worthy of the reputation of the noble writer. It has already been intimated that the most popular of the Duke’s works is one published at Madrid in 1841, ‘Historical Romances,’ from which has been taken, for translation, the ‘Alcazar of Seville.’ These romances are, in fact, ballads on various subjects in Spanish history, written in the ballad measure of octosyllabic lines, with asonante rhymes for the second and fourth of each quatrain, similar to our own ballads. In the prologue to this work the Duke has written a defence of this measure, which required no defence beyond his own adoption of it, with the example of such writers in it as Melendez and Arriaza in modern times, and almost all the best writers in the language previously. Ochoa has praised “above all” the romance of the Conde de Villa Mediana, and readers generally find most interesting the ‘Tale of a Veteran,’ so that it may require an explanation for the choice of the one taken, that the character of Pedro, surnamed the Cruel, was best known to the English public, as associated with English history. That of the Conde de Villa Mediana is a lively description of some scenes which led to his assassination by order of the king, who was influenced by jealousy; the ‘Tale of the Veteran’ gives an account of an adventure in a nunnery, where a nun invites an officer to her cell and poisons him in revenge for his slight to her sister. She then shows him the corpse of a brother officer, who had already fallen a victim to her arts for the like wrong to herself, and she tells him the whole history of her motives and conduct, while she induces him to dig a grave for the first victim, with whom, she tells her second, that he is also to be placed.