us into philosophy, the written, not acted, prologue to El Hijo de Don Juan (Don Juan's Son) may be added as an excellent interpretation of Echegaray's personality, revealed already with passable clearness in the dramatic prologue quoted. He enumerates the conclusions of the critics. That the play was inspired by Ibsen's celebrated Ghosts. That the passions it deals with are more appropriate to Northern climes than to the South. That it treats of the problem of hereditary madness. That it discusses the law of heredity. That it is gloomy and lugubrious, with no other object than that of inspiring horror. That it is a purely pathological drama. That it contains nothing but the process of madness. That from the moment it is understood that Lázaro will go mad, all interest in the work ceases, and there remains nothing but to follow step by step the shipwreck of enfeebled intelligence. And so on. Echegaray regards all this as the lamentable exercise of dramatic criticism. The underlying thought of his work is different, but he declines to enter into further explanation of it, each scene and each phrase sufficiently explaining it already. To touch more closely upon the matter would be perilous. Besides, he adds, it is not his habit to defend his plays. Once written, he casts them to their fate, without material or moral defence, and the critics are free to tear themselves to pieces over them. There is one phrase alone that he defends energetically, because it is borrowed from Ibsen, and appears to him of singular beauty: 'Mother, give me the sun.' This he describes in his prologue as 'simple, infantile, half comical, but enfolding a world of ideas, an ocean of feeling, a hell
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