=Conclusion.=--When an author is still alive, and especially when he is in the prime of life, it is difficult to pass judgment upon him. The future may show an evolution hitherto unsuspected. As far as can be told at present, Benavente's position is unassailable. He has been admitted to the Spanish Academy, he is recognized as one of the leading dramatists of Spain, and many consider him the foremost figure in the modern Spanish theater. Before the outbreak of the European War he was almost universally admired in his native country. The bitterness of international discussion has crept into dramatic criticism, but such a situation should be only temporary. There is every reason to expect that future historians of Spanish literature will reserve a post of honor for Jacinto Benavente. JOHN VAN HORNE FOOTNOTES: [1] Cf. _De sobremesa_, vol. II, p. 86, "Por algo soy hijo de quien mereció el nombre de 'médico de los niños.'" [2] In the interview just mentioned. [3] Cf. Juan Valera, _Obras completas_, vol. XXXI, pp. 15-23. [4] It must be remembered that the word _comedia_ (comedy) is used in Spanish for a play with a happy ending; the subject matter may be very serious; similarly a _drama_ denotes a play with a sad ending. Spanish nomenclature is followed in translation, except in a few cases where the word 'farce' is added for clearness. It will be observed that the order of plays is not quite chronological in some cases. Moreover, there are no dates of production for a few pieces; this means that some are, through oversight, not dated in the printed Spanish edition, others were produced privately, and still others were never represented on the stage. [5] Not yet included in the published volumes of the _Teatro_. [6] See the _Autocrítica_ prefixed to _Gente conocida_, _Teatro_, vol. 2, pp. 85-87. [7] _De sobremesa_, vol. I, p. 65. [8] The most famous Italian writer of comedies (1707-1793). [9] E. Gómez de Baquero, in _La España moderna_, Jan. 1906, pp. 160-166. [10] An account of _Los intereses creados_ is incorporated in the Notes. [11] José Rogerio Sánchez, in _Estudio crítico acerca de La malquerida, drama de Jacinto Benavente_, Madrid, 1913. [12] At the _estreno_ the part of Raimunda was played by María Guerrero, and that of Esteban by Fernando Díaz de Mendoza; these eminent artists, whose company is the most celebrated in Spain, have appeared in several of Benavente's plays. [13] Cf. _La ciudad alegre y confiada_, of which a brief notice is given in the body of the Notes, in connection with _Los intereses creados_. [14] _De sobremesa_, II, 16. [15] _De sobremesa_, II, 176-179; said in the course of a discussion with the critic Azorín. [16] _De sobremesa_, IV, 237; an answer to criticism of the morality of _La losa de los sueños_; cf. also _De sobremesa_, V, 161-163. [17] Words spoken on the occasion of the farewell of Rosario Pino, and included in the last volume of _De sobremesa_, V, 265. BIBLIOGRAPHICAL NOTE