ferent characters were taken to represent
the author's personal opinions, and every speech which could be brought
into connexion with current politics was applauded by one half of the house
and derided by the other half. A _zarzuela_, named _El Conde de Castralla_,
was given amid much uproar on the 20th of February 1856, and, as the piece
seemed likely to cause serious disorder in the theatre, it was suppressed
by the government after the third performance. Ayala's rupture with the
Moderates was now complete, and in 1857, through the interest of O'Donnell,
he was elected as Liberal deputy for Badajoz. His political changes are
difficult to follow, or to explain, and they have been unsparingly
censured. So far as can be judged, Ayala had no strong political views, and
drifted with the current of the moment. He took part in the revolution of
1868, wrote the "Manifesto of Cadiz," took office as colonial minister,
favoured the candidature of the duc de Montpensier, resigned in 1871,
returned to his early Conservative principles, and was a member of Alfonso
XII.'s first cabinet. Meanwhile, however divided in opinion as to his
political conduct, his countrymen were practically unanimous in admiring
his dramatic work; and his reputation, if it gained little by _El Nuevo Don
Juan_, was greatly increased by _El Tanto por Ciento_ and _El Tejado de
Vidrio_. His last play, _Consuelo_, was given on the 30th of March 1878.
Ayala was nominated to the post of president of congress shortly before his
death, which occurred unexpectedly on the 30th of January 1879. The best of
his lyrical work, excellent for finish and intense sincerity, is his
_Epistola_ to Emilio Arrieta, and had he chosen to dedicate himself to
lyric poetry, he might possibly have ranked with the best of Spain's modern
singers; as it is, he is a very considerable poet who affects the dramatic
form. In his later writings he deals with modern society, its vices, ideals
and perils; yet in many essentials he is a manifest disciple of Calderon.
He has the familiar Calderonian limitations; the substitution of types for
characters, of eloquence for vital dialogue. Nor can he equal the sublime
lyrism of his model; but he is little inferior in poetic conception, in
dignified idealization, and in picturesque imagery. And it may be fairly
claimed for him that in _El Tejado de Vidrio_ and _El Tanto par Ciento_ he
displays a very exceptional combination of satiric intention with romant