One of the aims which the author lists in his prologue is to avoid compiling a catalogue of titles and names. The result of his effort is a useful compendium of the history of the Spanish drama to 1900 for the beginning student. At various points one may question the allotment of space. This reviewer would have preferred the elimination of the section on La Celestina (14 pages), particularly since Ruiz Ramón remarks about Galdós: “It seems to me an error to consider that his dialogued novels possess a dramatic nature merely because they adopt the form of the dialogue and the division into acts.” (p. 479). In place of this section the author might have discussed some names which he lists (p. 103) in catalogue fashion despite his intent. Because of the necessity to limit the discussion of Lope and Tirso to a few representative dramas, it seems misleading to include plays of disputed attribution (La estrella de Sevilla, El condenado por desconfiado, respectively) as examples of their work. Ruiz Ramón devotes six pages to Tirso’s Biblical dramas, which he censures, and practically nothing to Tirso’s comedies, which are among his best works. Ruiz Ramón might have given less space to Argensola, an “abominable” playwright (p. 122), than to Timoneda, who was “sensible to all the signs of the theater of his time” (p. 124), and seven pages seem excessive for Don Álvaro, which he does not regard highly.

This is not a profound study, though the author does make contributions of his own by way of some very strong and provocative opinions. He demotes Juan de la Cueva, Mira de Amescua, and Ramón de la Cruz from their usual place in critical esteem, while giving undue praise to La Numancia, and he is especially devastating toward Echegaray.

The period prior to Lope is covered very effectively, including a section on tragedy, usually neglected, and there is a lucid discussion on the nature of the comedia. But with the neoclassic drama the work begins to deteriorate. There is no bibliography and very few bibliographical notes. The three appendices are of dubious value. The style is sprightly, and rarely do we have such astonishing statements as: “In the Conspiracy of Venice we are told the story of a conspiracy” (p. 417). There are amazingly few misprints. (Some noted are: Sempronio, p. 71; Atahualpa, p. 388; and Macias, p. 503. Also Juana la Beltraneja wanted the throne of Spain, not Portugal, p. 197.) The format and printing are excellent.