rather improbable incidents, but they afford an opportunity for touching and dramatic scenes. The piece is written partly in verse and partly in prose. As far as a foreigner can judge of the style of a language, all the niceties of which he can never fully appreciate, Hartzembusch's verses struck me as being superior to his prose. They are free, bold, animated, and offer a great variety in their form; they are also tolerably free from those poetical amplifications into which the facility of their prosody often leads the poets of southern countries. His prose dialogue appears to be imitated from that of modern French melodramas, and offends by its heavy, bombastic style. "The Lovers of Ternel" is really a literary work, far superior to the translations, arranged, or deranged, from the pieces played in the Boulevard theatres of Paris, and which inundate the Peninsula. In "The Lovers of Ternel," you perceive traces of the old ballads and great Spanish dramatists; and it is greatly to be desired that the young poets on the other side the Pyrenees would pursue this course rather than translate a quantity of wretched melodramas into a Castilian more or less pure. A very comic _saynete_ followed the serious piece. It set forth the troubles of an old bachelor, who takes a pretty servant of "all-work," as the advertisements say. The little rogue first introduces as her brother a great strapping Valencian, six feet high, with enormous whiskers, a tremendous _navaja_, an insatiable appetite and inextinguishable thirst; she then brings into the house a cousin, who is quite as wild a gentleman as her brother, and is bristling with an unlimited number of blunderbusses, pistols, and other dangerous arms. The said cousin is followed by an uncle, who is a smuggler, and carries with him a complete arsenal and a face to correspond, to the great terror of the old man, who is very repentant for his improper levity. All these various rascals were represented by the actors in the most truthful and admirable manner. At last, a nephew appears, who is a well-behaved young soldier, and delivers his uncle from the band of ruffians who have taken up their quarters in his house, embraced his servant while they were drinking his wine, smoked his cigars and pillaged his dwelling. The uncle promises never to be served for the future by any but old men-servants. The _saynetes_ resemble our vaudevilles, but the plot is less complicated, sometimes consisting merely of detached scenes, like the interludes in Italian comedies.