e of the literary ideals of the
_Siglo de Oro_, and to this extent at least could hardly be considered
revolutionary. The most complete representative of Romanticism in
Spanish dramatic literature is the _Don Alvaro_ of Angel de Saavedra,
better known as the Duque de Rivas; in this play are to be found all the
above-mentioned characteristics, even those that have to do more
naturally with lyric poetry, subjectivity and love of nature. Not only
does it present Romanticism in its most effective form; it also shows
the pitfalls of exaggeration and improbability that even the greatest
Romanticists failed to avoid when the check of common sense was removed
and free rein was given to the imagination. But since we are here
concerned mainly with _Los Amantes de Teruel_, a play that demands for
its understanding and appreciation much less familiarity with the
Spanish language than that required by _Don Alvaro_, the extent to which
the masterpiece of Hartzenbusch is representative of Romanticism will
now be briefly noted.[5]

[Footnote 5: In order that the student may discover for himself the
essential differences between the two schools of drama, it is
recommended that he read a classical play such as Moratin's _El Si de
las Ninas_ before reading _Los Amantes de Teruel_. In comparing the two
plays he should bear in mind that, for the reason that they are both
artistic masterpieces, they avoid the extremes of Classicism and
Romanticism, and that they do not illustrate entirely the opposite
characteristics of the less artistic examples of the two kinds of
drama.]

#VII. Romanticism in _Los Amantes de Teruel._# That the appeal is
mainly to the emotions and imagination is quite evident. The plot is
based on a legend that owes its chief interest to the unusual and even
improbable ending; and the exceptional and improbable, if they are to be
effectively treated in literature, must appeal to the imagination, must
so stir the sentiments of the reader or hearer that the reasoning
faculty may be kept from becoming too active. Not only is the
_denouement_ itself improbable; the somewhat melodramatic figure of
Zulima and the important part she plays in keeping apart the lovers
until it is too late, would hardly be convincing if the main appeal of
the play were to the intellect. These improbabilities are willingly
ignored by the reader or spectator as he allows himself to be carried
along in the current of passion to the final scene of dee