P. 62. "After the bull-fight": E. E. Hale ("Seven Spanish Cities") achieved the almost impossible feat of writing a book about Spain without having seen a bull-fight. One might as well attempt to write a history of opera, after refusing to listen to Wagner's _Ring_. H. T. Finck ("Spain and Morocco") was satisfied and disgusted with half a bull-fight. His attitude is quoted and reflected in Baedeker.... More sympathetic and detailed accounts of this very popular Spanish diversion may be found in Richard Ford's "Gatherings from Spain," Gautier's "Voyage en Espagne," Havelock Ellis's "The Soul of Spain," and de Amicis's "Spain and the Spaniards." Edward Penfield has illustrated a bull-fight in his "Spanish Sketches." The chapter on the bull-fight in John Hay's "Castilian Days" is very readable. The best descriptions in fiction of the tauromachian sport that I know of are in Frank Harris's very vivid story "Montes the Matador" (Gautier, by the way, devotes many nervous pages to Montes) and in Edgar Saltus's early novel, "Mr. Incoul's Misadventure." P. 64. "often introduce dialogue of their own": This is no longer true, Mr. John Garrett Underhill informs me, as the Sociedad de Autores has forbidden such interpolations. P. 64. "The Zarzuela": I am indebted to Mr. John Garrett Underhill for the following remarks anent the zarzuela: "The zarzuela was originally a three act romantic operetta, partly sung and partly spoken, and it continued in this form until the introduction of the one act form in the early eighties. The performances given at the Teatro de Zarzuela were mostly in the more elaborate form, while the _género chico_ (lesser genre) made its home at the Apolo. With the change to one act, the zarzuelas became more realistic--minute pictures of local customs, etc., built up around characteristic songs and dances, so that now the name has come to be pretty well synonymous with this species of entertainment, while the longer older form is generally spoken of as operetta. In other words a zarzuela is rather a musico-dramatic entertainment that is strongly Spanish than merely a mixed form. _The Land of Joy_ illustrates precisely this quality, although, having no dramatic element, it is not a zarzuela. "The most popular zarzuelas are all strongly coloured. They are _La Alegría de la Huerta_, music by Federico Chueca, built up about a scene of provincial merry-making, _La Verbena de la Paloma_ by Bretón, dealing with a popular religious festival in Madrid, Manuel Nieto's _Certamen Nacional_, Fernández Caballero's _El Cabo Primero_ and _Gigantes y Cabezudos_, and Chapí's _El Puñao de Rosas_. All these are in one act and the spoken parts are broad low comedy. To these must be added Emilio Arrieta's _Marina_, in three acts, the best example of the old form, showing strong Italian influence. _Marina_ is the sort of operatic classic with Spaniards that _Pinafore_--another nautical work--is with us.