are more sober in tone and less fantastic,--and it should
be added, less popular to-day,--than the legends of page xxxvii
Zorrilla. After a tempestuous life the Duke of
Rivas settled quietly into the place of director of the
Spanish Academy, which post he held till his death.

José de ESPRONCEDA (1808-1842) was preëminently a
disciple of Byron, with Byron's mingling of pessimism and
aspiration, and like him in revolt against the established
order of things in politics and social organization. His
passionate outpourings, his brilliant imagery and the
music of his verse give to Espronceda a first place
amongst the Spanish lyrical poets of the nineteenth
century. Some of his shorter lyrics (e.g. _Canto á
Teresa_) are inspired by his one-time passion for Teresa
with whom after her marriage to another he eloped from
London to Paris. The poet's best known longer works are
the _Diablo mundo_ and the _Estudiante de Salamanca_,
which are largely made up of detached lyrics in which the
subjective note is strikingly prominent. Espronceda was
one of those fortunate few who shine in the world of
letters although they work little. Both in lyric mastery
and in his spirit of revolt, Espronceda holds the place in
Spanish literature that is held in English by Byron. He
is the chief Spanish exponent of a great revolutionary
movement that swept over the world of letters in the first
half of the nineteenth century.

José ZORRILLA (1817-1893) first won fame by the reading
of an elegy at the burial of Larra. Zorrilla was a most