Dramatic literature unites, perhaps, the highest conditions of originality and power. Its earliest productions are the liturgical representations of the Middle Ages, “Misterios” or “Autos.” Although works of this kind are mentioned as early as the thirteenth century, the first which have a distinct dramatic character are the “Coplas de Mingo Revulgo” and “El Dialogo entre el Amor y un viejo.” These compositions were written under the reign of Henry IV. At the latter part of the fifteenth century a series of dramatic works already existed. Juan de la Encina began the history of the Spanish drama. Lucas Fernandez was a contemporary writer, and shortly afterward Gil Vicente. Torres Naharro, 1517, published his “Propaladia,” which contains eight comedies. Lope de Rueda founded the modern school, and he is imitated and improved by his followers. The drama does not attain its highest importance until Lope de Vega (1562-1635), the most prolific of Spanish poets. He tells us he had written fifteen hundred plays, without counting “Autos” and “Entremeses.” Cervantes says that forty companies of actors existed at this time in Madrid alone, consisting of no less than one thousand actors. In 1636, three hundred companies of actors appeared in different parts of Spain. Lope de Vega is rather unequal as a dramatic author; but “El mejor Alcalde el rey,” “La Estrella de Sevilla,” “La dama boba,” and “La moza de cantaro,” entitle him to rank among the best European dramatists. Three authors share Lope’s glory, Tirso, Calderon and Alarcon. No Spanish dramatist has surpassed Tirso in his facility of treating the most varied subjects in admirable versification. His comedy of “Don Gil de las calzas verdes” is as good as his dramas of “El Rey Don Pedro en Madrid,” “El condenado por desconfiado,” or “El convidado de piedra.” The popular type of Don Juan is taken from this drama. Alarcon is undoubtedly the most philosophical Spanish dramatist. His comedy, “Las paredes oyen,” is admirable, and “La verdad sospechosa,” so much admired by Corneille, as he tells us himself, when he took the plot for his “Menteur.” Calderon is the most popular dramatic author. He idealizes more than his predecessors, and his genius embraces the most varied subjects. His comedies are charming; as examples, “La dama duende” and “Casa con dos puertas” are among the best. “El medico de su honra” is full of dramatic power, and nothing can be more poetical than “La Vida es sueno” (vide MacCarthy’s translations). The best imitators of the great dramatists are Rojas and Moreto: “Garcia del Castanar,” by the former, and “Desden con el Desden” of the latter, are equal to the dramas of the great masters.