[11] _Parnaso Español_ of Sedaño, vol. vii.; and _Ribadeneyra_, vol. xxxii.; _Poetas Liricos de los Siglos_, xvi., xvii. [12] _Biblioteca de Ribadeneyra_, vol. xxxvii., contains the work of Luis de Leon, both prose and verse, together with a selection from the papers of his trial before the Inquisition. [13] _Biblioteca de Ribadeneyra_, vol. xxxii. [14] The reference is again to _Ribadeneyra_, vols. xxxii., xlii. [15] _Biblioteca de Ribadeneyra_, vol. xxxii. [16] “Made” is the past tense of the verb. The order is “made to leave,” which is shown by the inflection in Spanish. [17] _Biblioteca de Ribadeneyra_, vols. xxiii., xlviii., lxix. There is a very pretty edition of Quevedo in eleven octavo volumes, by Sancha, Madrid, 1791, which is occasionally met with. [18] Vols. xvii. and xix. of the _Biblioteca de Ribadeneyra_ contain not only all, but more than all, that is entitled to survive of this portion of Spanish literature. [19] _Biblioteca de Ribadeneyra_, vol. iv. [20] _Biblioteca de Ribadeneyra._ _Obras no dramaticas de Lope de Vega_; also, _Obras Sueltas_. Madrid, 1776-1779. [21] _Biblioteca de Ribadeneyra_, vol. xvii. [22] Article on Portuguese Literature in the _Quarterly_ for May 1809. [23] The general reader cannot do better than make his acquaintance with the _Lusiads_ in Mr Aubertin’s translation, which gives the Portuguese text opposite the English version. [24] Whether because the subject is maritime, or in consequence of our long trading and fighting alliance with Portugal, the _Lusiads_ has been translated into English with an almost curious persistence. Sir Richard Fanshawe made a very quaint version in the middle of the seventeenth century. The flowing, and extremely free, translation of Mickle proved lucrative to its author as late as 1776. In our time Mr Aubertin has translated it closely, and Sir Richard Burton has given a version both of the _Lusiads_ and of the minor poems which is admirably fitted to introduce the English reader--to the translator. [25] _Obras de Camoens._ Lisbon, 1782-1783. CHAPTER III. THE GROWTH AND DECADENCE OF THE SPANISH DRAMA. THE NATIONAL CHARACTER OF THE SPANISH DRAMA--THE FIRST BEGINNINGS OF THE RELIGIOUS PLAYS--THE STARTING-POINT OF THE SECULAR PLAY--BARTOLOMÉ DE TORRES NAHARRO--LOPE DE RUEDA--LOPE DE VEGA’S LIFE--HIS INFLUENCE ON THE DRAMA--THE CONDITIONS OF THE WORK--CONTEMPORARIES AND FOLLOWERS OF LOPE--CALDERON--CALDERON’S SCHOOL. [SN: _The national character of the Spanish drama._]