In the first volume of poems that Zorrilla published, containing his earliest productions, are to be found all the selections made for translation in this work. They may not be so highly finished as some afterwards published, nor so marked by that distinctive character he has made his own; but they show the first promises of the fruit that was in store, to be afterwards brought to such maturity. As he had scarcely emerged from boyhood when he began to tread the path to fame, his first steps could scarcely fail to betray that sort of uncertainty which attends on all who are going on an unknown road. Thus then through the volume he appears to be seeking a ground whereon to fix his energies and build the temple for his future fame, without being able confidently to fix on any place in preference. His poetry from the first, always sonorous and easy, often evidently spontaneous and true to nature, at times is weak and deficient in the depth of thought that at other times distinguishes it, especially in the compositions of a philosophic cast, which require fuller age and reflection to give them with perfectness. Subject to these remarks, independently of the poems hereafter given in the translations, there are others, ‘To Toledo,’ ‘The Statue of Cervantes,’ ‘The Winter Night,’ more clearly portraying the peculiar character of his poetry as afterwards developed. In the second volume published about six months afterwards, he seems already to have taken his ground and to proceed with a more decided step. The poem, ‘The Day without Sun,’ is full of poetic vigour and richness of description, and several tales of greater length and legendary character show the bent of his mind and the direction it was in future to take. In the third volume it was reserved for his genius to be fully developed. It opens with a magnificent composition, ‘To Rome,’ in which deep philosophy and reflection are combined with exquisite description, all so clear and distinct as fully to captivate the mind and leave an impression of complete satisfaction. But beyond this it contains the poem ‘To the last Moorish King of Granada, Boabdil the Little,’ which is generally considered his best. He was already recognized as an admirable descriptive poet, but he now proved his power of moving the inmost feelings to be as great as his power of imagination. It is undoubtedly a splendid composition and highly finished, so as to be well worthy of study for the Spanish reader, though too long for translation for this work. The same volume contains another poem, also worthy of mention, ‘To a Skull,’ as written with much force and effect, but in the style of the French imitators of Byron, whom Zorrilla has too much copied, though it must be stated without their affectation and exaggerations.