On what does popularity depend! On the first and second days of the performance no person would ever have conceived it possible that so sure an artist, one so certain of his public as Montes, could be punished with such severity for an infraction of the rules, which was, doubtless, called for by the most imperious necessity, on account of the extraordinary agility, strength, and fury, of the animal. When the fight was concluded, he got into a calessin followed by his quadrille, and swearing by all that he held sacred that he would never put his foot in Malaga again. I do not know whether he has kept his word, and remembered the insults of the last day longer than the triumphs and applause of the two preceding ones. At present, I am of opinion that the public of Malaga was unjust towards the great Montes de Chiclana, all whose blows had been superbly aimed, and who, in every case of danger, had displayed heroic coolness, and admirable address, so much so, indeed, that the delighted audience had made him a present of all the bulls he killed, and allowed him to cut off an ear of each, to show that they were his property, and could not be claimed either by the hospital or the proprietor of the circus. We returned to our _parador_, giddy, intoxicated, and saturated with violent emotion, hearing nothing, as we passed along the streets, but the praises of the bull, and imprecations against Montes. The same evening, in spite of my fatigue, I procured a guide to conduct me to the theatre, wishing to pass immediately from the sanguinary reality of the circus to the intellectual emotions of the stage. The contrast was striking; the one was full of life and noise, the other was deserted and silent. The house was almost empty, only a few spectators being scattered here and there over the melancholy benches; and yet the entertainments consisted of "The Lovers of Ternel," a drama by Don Juan Eugenio Hartzembusch, and one of the most remarkable productions of the modern Spanish school. It is the touching and poetical story of two lovers, who remain unalterably faithful to one another, in spite of a thousand various seductions and obstacles. Notwithstanding all the author's endeavours--which are often very successful--to vary a situation that is always the same, the piece would appear too simple to a French audience. The passionate portions are treated with a great deal of warmth and impulse, occasionally disfigured by a certain melodramatic exaggeration, to which the author abandons himself too easily. The love of the Sultana of Valencia for Isabel's lover, Juan Diego Martinez Garces de Marsilla, whom she causes to be drugged with a narcotic and brought into the harem; the vengeance of this same Sultana when she sees that she is despised, the guilty letters of Isabel's mother, which are found by Roderigo d'Azagra, who uses them as a means of marrying the daughter, and threatens to show them to the deceived husband, are, perhaps,