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96 correct them, and among whom the prominent place is due to the two Moratins, father and son. Of these the former seems to have been the first of his countrymen who openly denounced the wrong tendencies of the national dramatists; and the latter, following in the same track, may be pronounced the great reformer of the Spanish stage, to whom it owes some of its best productions.

The elder Moratin was one of the ablest writers of verses in Spain during the last century, before the new æra of poetry arose, and his merits, if not of themselves superior to those of his contemporaries, have had an advantage over them, in connexion with the reputation of the son, who has rendered them more celebrated by a pleasing memoir of his father, prefixed to his works. From this we learn, that if the father did not attain a high rank himself as a poet or dramatist, yet he well deserves to be remembered as a bold and judicious critic, who, both by precept and example, effected much good in his own day, and still more by instilling good lessons into the mind of the son, so as to enable him to attain his merited success.

In the words of this memoir, "Calderon at that time enjoyed so high a reputation, that it appeared a sacrilegious hardihood to notice defects in his comedies or sacramental pieces, which, repeated annually on the stage with every possible pomp and appliance, delighted the vulgar of all classes, and perpetuated the applauses of their famous author. Moratin published three Discourses, which he entitled, 'Exposition of the Misconceptions of the Spanish Theatre,' written with the good judgement of a man of taste, and with the zeal of a citizen interested in the progression and literary glory of his country. In the first he showed the defects in which the old plays abounded; as also the modern, with which poets, without rule or plan, supplied the players, sanctioning every