when he is most an imitator, are sources of great perfections, and most glorious crowns of the Spanish Parnassus, yet we are obliged to confess, that in the Spanish poets, lyric and pastoral, we see too great a sameness, that their stock of ideas and images is limited and common to them all, and that if varied and choice in expression, they are uniform in their arguments and plans, founding their merit more in the gala and pomp of language, in the floridness and sonorousness of verse, and in the ingenious dexterity of making variations on one theme, than in the vigour and originality of their
thoughts, or in the strength and profoundness of the emotions which they felt, or which their works excite in the minds of their readers."
Entirely coinciding in the opinions thus expressed, we feel, on the other hand, with regard to the modern Spanish poets, that while they have fully maintained the grace and beauty that distinguished their predecessors in former ages, their genius has expanded over far wider fields, and embraced subjects of as varied and powerful interest as the contemporary poetry of any other country can present to delight or captivate. As instances in support of this opinion, we have, in particular, to refer to the comparatively few but exceedingly brilliant compositions of Espronceda, whose early loss, at only thirty-two years of age, the whole literary world has to deplore.
We have great cause to be thankful to Ferrer del Rio that we have any account at all of this very eminent lyric poet, though the one he has given is far from being so full as the admirers of his genius might have desired. From that account, we learn that it was in the spring of 1810, during the most momentous period of the war of independence, a colonel of cavalry, after some long and harassing marches, was obliged to halt at the small town of Almendralejo, in the province of
