In Spain there can scarcely yet be said to be formed a “reading public,” notwithstanding the great number of good works that have been lately published, to supply the demand whenever it shall arise. The most evident and flattering of all the applauses that a literary man can there receive, are those awarded to dramatic successes, and of these, he has had the reward that was certainly due to him. In such a climate as that of Spain, and with such a people, theatrical amusements are more a matter of popular necessity than they are in a colder climate, with people of more domestic requirements; and yet even in England it may be a cause of surprise, considering the honour given to the author of a successful play, that more works of genius have not been produced for the stage. In both countries there is a complaint of the public requiring “novelties;” but the fact is, that in seeking novelties, they are only seeking excellence. When any really good work is presented them, they know how to appreciate it, and in seeking for others even of the same author, they are only expressing their sense of his merits. In the prospectus of the proposed new edition of his works, he had the satisfaction of stating he had to republish more than sixty original dramas, that had met with a successful reception from the audiences of Madrid. He has besides these produced several that have not been successful, and has translated from the French a great number of others. These have been principally tragedies, and he has adapted them for the Spanish stage, rather than translated them, showing a talent, it has been observed by Del Rio, in so doing equivalent to making them to be counted in the number of his original works. Del Rio cites as a particular example, the translation from Delavigne’s Tragedy of ‘The Sons of Edward.’ Breton’s talent is evidently pre-eminent for comedy; but he has written several tragedies also, of which one, the ‘Merope,’ brought forward in 1835, was received with much favour.