9. The asonante in e-e, recommences here, and continues until the entry of Chrysanthus. 10. The metre changes to the asonante in a-e for the remainder of this Act. 11. The asonante in this scene is generally in o-e, o-o, o-a, which are nearly all alike in sound. In the second scene the asonante is in a-e, as in "scAttEr", etc. 12. See note referring to the auto, "The Sacred Parnassus", Act 1, p. 21. 13. The asonante changes here into five-lined stanzas in ordinary rhyme. Three lines rhyme one way and two the other. Poems in this metre are called in Spanish 'Versos de arte mayor,' from the greater skill supposed to be required for their composition. 14. The asonante is single here, consisting only of the long accented o, as in "ROme", "glObe", "dOme", etc. 15. Champion, or combater, the name generally given the Cid. 16. The metre changes to an irregular couplet in long and short lines. 17. The metre changes to the double asonante in e-e, which continues to the end of the drama. 18. Baptism by blood and fire through martyrdom. Calderon refers here evidently to the words of St. John the Baptist: "He shall baptize you in the Holy Ghost and fire"--St. Matth., c. iii. v. ii. The following passage in the Legend of St. Catherine must also have been present to his mind: "Et cum dolerent, quod sine baptismo decederent, virgo respondit: Ne timeatis, quia effusio vestri sanguinis vobis baptismus reputabitur et corona". Legenda Aurea, c. 167. THE SPANISH DRAMA. CALDERON'S DRAMAS AND AUTOS, Translated into English Verse BY DENIS FLORENCE MAC-CARTHY. From Ticknor's History of Spanish Literature. London: 1863.