But in addition to the causes assigned for the superior character of modern Spanish poetry in particular, there is one other to be suggested, the association of which may perhaps occasion some surprise, though it may not be for that the less indubitable. This is the fact of the later Spanish writers having, perhaps unconsciously, but unmistakenly, taken better models than their predecessors by preferring the study of English literature to that of the French. This fact, though without the full inference that might have been drawn from it, has been observed by a German author, F. J. Wolf, of the Imperial Library at Vienna, who has published a collection of modern Spanish poetry, with biographical notices, Paris, 1837, in two volumes--‘Floresta de Rimas Modernas Castellanas.’ It is an interesting collection, but being all given in the Spanish language, is only available to those who are acquainted with it. In the introduction to this work, Wolf treats of the “efforts of Melendez and the Salamanca school to give a new splendour to Spanish poetry, partly by the study and imitation of the ancient and good Spanish writers, taking advantage of the national forms, and partly by making it more profound and substantial, imitating not only and exclusively the French, but also and especially the English.” (Page 15.) During the early part of the last century, consequent upon the accession of the Bourbons to the throne, the writers of verse in Spain, who obtained most favour among their contemporaries, formed their style avowedly upon the model of what was called the French school, and thus taking examples unworthy of imitation, became still more wretched as copyists. Towards the end of the century, however, a feeling arose, on the other side, in favour of the study of English literature, which has led to the happiest results. Of the twelve poets whose lives and poems it is the purpose of this work to delineate, no fewer than ten may be observed acquainted in no inconsiderable degree with the best English authors and proficient in the English language. Two only, Breton de los Herreros and Zorrilla, seem not to have extended their studies so far. With the peculiar humorous vein of the former, perhaps the deficiency may not be considered as leaving any merit to be supplied. But it does seem a matter of regret that a person of Zorrilla’s exalted genius should have confined his studies so much to French writers, and so have deprived himself of the expansion necessary for the highest flights of poetry. France has never produced a great painter or a great poet. The very language, so monotonous and unmusical, in having the accent almost invariably on the last syllable of the words, seems opposed to rhythmical cadence, and not to admit of the highest excellence either in oratory or poetry. Whatever may be the cause, it is evident that such excellence has not been attained in the language, and therefore