The drama in Spain has in all times occupied an important place. The traditions of the past names, such as Calderon, Lope de Vega, Tirso de Molina, Moreto, and others, cannot exactly be said to be kept up, for these are, most of them, of European fame; but in a country where the theatre is the beloved entertainment of all classes, and perhaps especially so of the poor or the working people, there are never wanting dramatists who satisfy the needs of their auditors, and whose works are sometimes translated into foreign languages, if not actually acted on an alien stage. It would be impossible and useless to give a mere list of the names of modern dramatists, but that of Ayala is perhaps best known abroad, and his work most nearly approaches to that of his great forerunners. His _Consuelo_, _El tejado de Vidrio_, and _Tanto por ciento_ show great power and extraordinary observation. His style, too, is perfect. Señor Tamago, who persistently hides his name under the pseudonym of "Joaquin Estebanez," may also be ranked amongst the leaders of the modern Spanish drama, and his _Drama Nuevo_ is a masterpiece. Echegaray belongs to the school of the old drama, whose characteristic is that virtue is always rewarded and vice punished. His plays are very popular because they touch an audience even to tears, and he has several followers or imitators. The comedies of manners and satirical plays are generally the work of Eusebio Blasco, Ramos Carrion, Echegaray the younger, Estremada, Alverez, though there are others whose names are legion. Echegaray is really a man of genius. A clever engineer and professor of mathematics, he was Minister of Finance during the early days of the Revolution. His first play took the world of Madrid by surprise and even by storm. _La Esposa del Vengador_ had an unprecedented success, and at least thirty subsequent dramas, in prose and in verse, have made this mathematician, engineer, and financier one of the most famous men of his day. His art and his methods are purely Spanish. I have already referred to the phenomenal success of Perez Galdós's _Electra_ within the last few months. It must, however, be ascribed chiefly to the moment of its presentation rather than to any superlative merit in the drama. It is well written, which is what may be said of almost all Spanish plays, for the language is in itself so dignified and so beautiful that, if it be only pure and not disfigured by foreign slang, it is always sonorous and charming. To the state of the popular temper, however, and the coincidence of the political events already referred to must be ascribed the fact that a piece like _Electra_ should cause the fall of a Government, and bring within dangerous distance the collapse of the monarchy itself. The excitement which it still produces, wherever played, is now in a great part due to the foolish action of some of the bishops and the fact that individual clerics use their pulpits to condemn it, and attempt to forbid its being