The Spanish rogue, at least in fiction, has been said to be the only amusing rogue in Europe. The chief representations of him in literature are in the novel of "Lazarillo de Tormes" (1554), by Hurtado de Mendoza; "Guzman de Alfarache" (1599), by Mateo Aleman; and "La Picara Justina" (1605), by the Dominican monk, Andreas Perez. The whole series of these works culminated in a masterpiece, "Gil Blas," written, not by a Spaniard, but by the Frenchman Lesage, in 1668; perhaps the most graphic description of the manners of another nation ever written by a foreigner. The serious drama in Spain arose, probably, like that of other European nations, from the mysteries and moralities of the Middle Ages, such as are still continued to be performed occasionally at Elche and in other districts. In the "Autos" of Calderon and others it bore clear marks of this origin to a later date than any other contemporary drama. The first plays of any consequence we hear of are those of Lope de Rueda (1544-67), who, both as actor and as author, was greatly admired by Cervantes. From him the Spanish drama, like the almost contemporary Elizabethan drama in England, sprang at once to its full height. Cervantes, in his tragedies "Los Banos de Argel," and in "El trato de Argel" in which he described incidents in his own captivity, and in the "Numancia," telling the story of the siege by the Romans, imitated and surpassed his friend. In lighter pieces, comedies and _entremeses_, he was less successful. Almost coeval with Cervantes is Lope de Vega (1562-1635), perhaps the most prolific dramatic writer of any value that ever lived. His pieces are numbered at from 1500 to 2000, and the best of these are equal, if not superior, to those of Calderon in delineation of character and in plot, and are inferior only in poetical merit. We can only mention Tirso de Molina (1588-1648), Montahran (1602-38), and Ruiz de Alarcon (died 1639) as dramatists of merit, whose best pieces, especially those of the latter, approach very nearly to those of Lope and of Calderon. Calderon de la Barca (1600-81), with the German, Goethe, is the only dramatist of modern Europe who has been seriously put forward as a rival, or even superior, to Shakspere. This we think to be a mistake; in rich poetical imagery, in gorgeousness of fancy, in harmony of verse, in stately dignity, in depth of religions feeling, in knowledge of stage effect--in all these things he may be compared to our English master; but he is very far inferior to him in width of sympathy, in wit and rollicking fun, or in thoughtful humour; his comedy will not bear comparison with that of Shakspere; but he falls most short in his delineation of individual character. In comparison with Shakspere's, his figures are but well-dressed puppets compared to living men and women; not one of them lingers in the memory like a person whom we have known. We remember Calderon's verses, we revel in his splendid poetry, but we