irst original
Spanish comedy on the same model, Nicolas Moratin's _Petimetra_
(_Petite-Maitresse_), printed in 1726 with a critical dissertation,
likewise remained unacted. In 1770, however, the same author's
_Hormesinda_, an historic drama on a national theme and in the national
metre, but adhering to the French rules, appeared on the stage; and
similar attempts followed in tragedy by the same writer and others
(including Ayala, who ventured in 1775 to compete with Cervantes on the
theme of Numantia), and in comedy by Iriarte and Jovellanos (afterwards
minister under Godoy), who produced a sentimental comedy in Diderot's
manner.[68] But these endeavours failed to effect any change in the
popular theatre, which was with more success raised from its deepest
degradation by R. de la Cruz, a fertile author of light pieces of genuine
humour, especially _saynetes_, depicting the manners of the middle and
lower classes. In literary circles Garcia de la Huerta's voluminous
collection of the old plays (1785) gave a new impulse to dramatic
productivity, and the conflict continued between representatives of the
old school, such as Luciano Francisco Comella (1716-1779) and of the new,
such as the younger Moratin, whose comedies--of which the last and most
successful[69] was in prose--raised him to the foremost position among
the dramatists of his age. In tragedy N. de Cienfuegos likewise showed
some originality. After, however, the troubles of the French domination
and the war had come to an end, the precepts and examples of the new
school failed to reassert themselves.

Already in 1815 an active critical controversy was carried on by Buhl de
Faber against the efforts of J. Faber and Alcala Galiano to uphold the
principles of classicism; and with the aid of the eminent actor Maiquez
the old romantic masterpieces were easily reinstated in the public
favour, which as a matter of fact they had never forfeited. The Spanish
dramatists of the 19th century, after passing, as in the instance of F.
Martinez de la Rosa and Breton de los Herreros, from the system of
French comedy to the manner of the national drama, appear either to have
stood under the influence of the French romantic school, or to have
returned once more to the old Spanish models. Among the former class A.
Gil y Zarate, of the latter J. Zorrilla, are mentioned as specially
prominent. The most renowned Spanish dramatist at the opening of the
20th century was the veteran poli