literature and science became the objects of the Castilian mind. The Spaniards being inspired with this praiseworthy ambition, thought of soaring higher than employing themselves, as they had done heretofore, in writing ballads and chivalric poems. For soon after, the Chronicles of king St. Ferdinand, Don Alphonsus the Wise, Don Sancho IV. Don Ferdinand IV. and Don Alphonsus XI. appeared written in this language, which was not an inconsiderable step towards its perfection.

Whilst the Castilian genius was thus employed in beautifying and perfecting the newly adopted language, Pedro Lopez de Ayala, that classical writer, made his appearance; and composed in a chaste, handsome, and relatively speaking, elegant style, the Chronicles of king Don Peter, those of Don Henry II., and those of Don John I.

The Spaniards, at a very early period, were inspired with an almost irresistible taste for the romance, and in this species of composition they then excelled, and have ever after equalled, and even surpassed all other European nations. As to the chivalric writings, the Spaniards also distinguished themselves over the French, Italians, and English. In all their compositions, particularly in that entitled the Cid, the name of whose author was buried with himself, or has unfortunately remained concealed to the present day, the true Castilian spirit, a simplicity at those times not to be excelled, and a national feeling, worthy of the highest encomiums, manifested themselves.

The greatest monument, however, that perpetuates the memory of the early efforts of Castilian genius, is the production of Juan Manuel, entitled, "El Conde

Lucanor," Count Lucanor. This work, though written in the beginning of the fourteenth century, is not distinguished by any of the pomp or ostentation which disfigured, in some measure, the productions of that age. Experience and observation seem to haye enriched the author's fertile mind with a great fund of practical philosophy, and modest, dignified sentiment, which he infused into the spirit of his writings. In his style he introduces no sought beauty or artificial embellishment; a natural and even neglected simplicity pervades throughout, which greatly enhances the vast erudition and deep reflections with which all his works abound.

This writer was a lineal descendant of king St. Ferdinand, and distinguished for every good and great quality, that can adorn the human mind. Under king Alphonsus XI., he achieved so many heroic exploits, and performed so many brilliant actions, that obtained him a lasting glory. Endowed, as he was, with sentiments lofty and generous, and with a judgment that nothing could misguide, he never became the victim of kingly jealousy or of party feeling. A universal admiration of the man and his works, was the happy lot of this author to enjoy during his life; and it has been the monument consecrated to his memory after his death.

The productions of such a character and at such a period, gave great impulse to the budding genius of the Spaniards. Their effect on the language was not so immediate, half a century having elapsed since the wise Alphonsus had used so many exertions to carry it to some degree of perfection. The polished form, however, that the Castilian idiom assumed in the fifteenth century, was owing in a very great measure to the la

bours and popularity of Don Juan Manuel. This age is conspicuous in the literary annals of Spain for having produced Juan de Mena, the first of the Spanish great poets. Immortal praise is due to this son of the Muses for the labours he bestowed on his maternal tongue, and for his exertions to improve it, without the aid of any other dialect or idiom.

Boscan, Garcilaso de la Vega, and Luis de Leon, the three greatest stars that, in the sixteenth century, rose to illumine the dawn of Castilian poetry, changed in some degree the character of the language. By their close imitation of the Italian poets, they gave the Spanish those soft and sweet tones, which are heard amidst its Latin majesty, Gothic strength, and Oriental pomp.

By the labours of these eminent authors, the Spanish idiom had taken some rapid strides towards refinement and elegance. Happily, they were only harbingers of the degree of perfection to which it would be carried by a Cervantes, whose genius for the Romance has been the inimitable example of all other nations, and by which he has immortalized his name and his compositions. By a Francisco de Quevedo Villegas, whose prose and poetical writings are entitled to the highest admiration of the learned. By a Granada, whose chaste and eloquent style will ever be the pride of Spain. By an Alego Venegas, a Fernando Perez de Oliva, whose profound and philosophical treatises will always be read with interest and advantage. By a Lopez de Vega, a Calderon de la Barca, whose dramatic powers have entitled Spain to the boasted appellation of being equal to any as to comedy. By a Juan Rufo, an Alphonso de Ercilla, whose two heroic poems, La Austriada of the former, La Araucana of the latter,

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reflect honor on the poesy of Spain. By a Solis, a Clarijo, a Palafox, an Argensola, a Jovellanos, a Montengon, an Isla, a Melendez Valdez, and, in fine, by numberless other eminent writers, who have rendered Spain, in a literary point of view, the competitor of any country.

SPANISH GRAMMAR.

SPANISH GRAMMAR is the art of speaking and of writing the Spanish Language with propriety. It is divided into four parts, viz: Orthography, Etymology, Syntax, and Prosody.

PART I.

ORTHOGRAPHY.

ORTHOGRAPHY shows the sound, power, and proper combination of letters, to form syllables or words.

The Spanish Alphabet is composed of the following Characters: A, B, C, CH, D, E, F. Names:* ah, bai, thai, chai, they, a, ai'ffey, G, H, I, J, K, L, ᏞᏞ. M, hay, at'chey, ee, hot'tah, kah, ai'ley, ail'liey, ai'mey N, Ñ, N, O, P, Q, R, S, T, ai'ney, ain'niey, o, pay, koo, air'rey, ais'sey, tay,

oo, vai, ai'keez, eegreeai'ghah, thai'tah.

* The name should not be mistaken for the sound of the letters. For instance, the name of the character Z, is thaitah; at the same time that its sound is like th in thanks. The name has therefore relation to the peculiar appellation by which a letter, when it forms no combination with others, is distinguished. The sound is that noise which is made in pronouncing a letter when combined with others.

The author is well aware that it is impossible to give, by English sounds, the names of the Spanish letters exactly, as a