How far those circumstances have affected the modern literature of Spain may be best seen from the memoirs hereafter detailed of the principal poets individually. Our present purpose in this Introduction is only to make general observations to lead to the conclusions that may be deduced from them.
Spain, as it has been already observed, cannot boast of having ever produced a poet of the highest class, meaning by that term, one of such high creative genius as to stamp his character, not only on the literature of his own age and country, but also on that of all successive ages within his possible influence. Of such poets the world has only seen four or five at the utmost, with the exception of the inspired writers, referring to Homer, Dante, Shakespeare, Milton, and perhaps we may add, Byron. With these, Virgil and other imitators must not be classed, however great the talents they may have displayed, nor yet other writers of greater originality and even genius, who have, however, confined themselves to minor works or those on less important subjects. Of such writers of great original genius, who did not aim at works of the highest order, Spanish literature may claim as many as that of any other country. With them the English reader has been made acquainted more fully than with the writers of most other modern countries, by the works of Bouterwek and Sismondi, translated respectively by Mrs. Ross and William Roscoe, and now by the more comprehensive work of Mr. Ticknor (New York, 1849; London, 1850), who has supplied the deficiencies the others had left in the course of their inquiries. Of these works Sismondi's is little more than a repetition of Bouterwek's, without the acknowledgement made which was in justice due to his original. That however was in reality so jejune in treating of the materials at the command of the writer, as almost to warrant the use of his ma-
