-CARTHY, M.R.I.A.

THE PURGATORY OF SAINT PATRICK.

"With the 'Purgatory of St. Patrick' especial pains seem to have been
taken".

"Considerable license has been taken with the prayer of St. Patrick; but
its spirit is well preserved, and the translator's poetry must be
admired".

"If Calderon can ever be made popular here, it must be in the manner
generally adopted by Mr. Mac-Carthy in the specimens, six in number,
which are here translated, preserving, namely, the metrical form, which
is one of the characteristics of the old Spanish drama. This medium,
through which it partakes of the lyrical character, is no accident of
style, but an essential property of that remarkable creation of a poetic
age--remarkable, because while the drama so adorned was entirely the
offspring of popular impulse, in opposition to many rigorous attempts in
favour of classical methods, it was at the same time raised above the
tone of common expression by the rhythmical mode which it assumed, in a
manner decisive of its ideal tendency. It thus displays a combination
rare in this kind of poetry: the spirit of an untutored will, embodied
in a form the romantic expression of which might seem only congenial to
choice and delicate fancies. . . . .

"In conclusion, what has now been said of Calderon, and of the stage
which he adorned, as well as of the praise justly due to parts of Mr.
Mac-Carthy's version, will at least serve to commend these volumes to
curious lovers of poetry".

From an elaborate article in "The Athenaeum", by the late eminent
Spanish scholar, Mr. J. R. Chorley, on the first two volumes of Mr.
Mac-Carthy's translations from Calderon.

THE CONSTANT PRINCE.

A Drama.

"In his dramas of a serious and devout character, in virtue of their
dignified pathos, tragic sublimity, and religious fervour, Calderon's
best title to praise will be found. In such, above all in his Autos, he
reached a height beyond any of his predecessors, whose productions, on
religious themes especially, striking as many of them are, with
situations and motives of the deepest effect, are not sustained at the
same impressive elevation, nor disposed with that consummate judgment
which leaves nothing imperfect or superfluous in the dramas of Calderon.
'The Constant Prince' and 'The Physician of his own Honour', which Mr.
Mac-Carthy has translated, are noble instances representing two extremes
of a large class of dramas".

From the same art