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Chapter 2: Computing and Understanding Averages: Means to an

End Test Bank

MULTIPLE CHOICE

1. This is the value that best represents an entire group of scores:

a. Mean
b. Median
c. Mode
d. Average
ANS: D PTS: 1 DIF: Easy
REF: Computing and Understanding Averages
OBJ: Understanding measures of central tendency COG: Knowledge

2. Which of the following is NOT a measure of central tendency?

a. Median
b. Mode
c. Standard deviation
d. Mean
ANS: C PTS: 1 DIF: Easy
REF: Computing and Understanding Averages
OBJ: Understanding measures of central tendency COG: Application

3. This measure of central tendency can be considered the most precise:

a. Mode
b. Median
c. Mean
d. Average
ANS: C PTS: 1 DIF: Easy REF: When To Use What
OBJ: Understanding measures of central tendency COG: Knowledge

4. This measure of central tendency can be considered the least precise:

 a. Median
b. Mode
c. Mean
d. Other
ANS: B PTS: 1 DIF: Easy REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Knowledge

5. What should be used to determine central tendency?

a. A correlation
b. A graph
c. The standard deviation
d. The average
ANS: D PTS: 1 DIF: Easy
REF: Computing and Understanding Averages
OBJ: Understanding measures of central tendency COG: Application
 6. This consists of the middle point of a set of values:
a. Mean
b. Median
c. Mode
d. Other
ANS: B PTS: 1 DIF: Easy REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Knowledge

7. What is the most common average computed?

a. Mode
b. Mean
c. Variance
d. Median
ANS: B PTS: 1 DIF: Easy REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Knowledge

8. What is the symbol used to represent the mean?

a. N
b. n
c.
d. X
ANS: C PTS: 1 DIF: Easy Understanding measures of REF: Computing the Mean
OBJ: central tendency COG: Knowledge

9. What is another term for the mean?

a. Midpoint
b. Frequency
c. Arithmetic average
d. Distribution
ANS: C PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Average Function
OBJ: Understanding measures of central tendency COG: Knowledge

10. What value is most often used to represent an entire group of scores?
a. Mode
b. N
c. Median
d. Mean
ANS: D PTS: 1 DIF: Easy REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Knowledge

11. If a distribution is “significantly distorted,” what is this called?

a. Variability
b. Outliers
c. Skew
d. Percentile
 ANS: C PTS: 1 DIF: Easy REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Comprehension

12. What is another way of describing “measures of central tendency”?

a. Statistical measures
b. Measures of variability
c. Averages
d. Deviation scores
ANS: C PTS: 1 DIF: Easy
REF: Computing and Understanding Averages
OBJ: Understanding measures of central tendency COG: Knowledge
13. What is the formula for computing the mean?
a.
X+n
b.
Y/X
c. d.
X/n
N+y

ANS: C PTS: 1 DIF: Medium REF: Computing the Mean

OBJ: Understanding measures of central tendency COG: Knowledge

14. This is calculated by multiplying values by the frequency of their occurrence, adding the
total of all the products, and then dividing by the total number of occurrences:
a. Mean
b. Arithmetic mean
c. Mode
d. Weighted mean
ANS: D PTS: 1 DIF: Medium
REF: Computing a Weighted Mean OBJ: Understanding measures of central tendency
COG: Knowledge

15. Which of the following symbols represents the individual score?

a. X
b. n
c. N
d.
ANS: A PTS: 1 DIF: Easy Understanding measures of REF: Computing the Mean
OBJ: central tendency COG: Knowledge

16. What does the symbol represent?

a. The mean
b. The sum of values
c. The sample size
d. An individual score
ANS: B PTS: 1 DIF: Easy REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Knowledge

17. What is the name of the letter

 a. Phi
b. Rho
c. Sigma
d. Alpha
ANS: C PTS: 1 DIF: Easy REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Knowledge

18. Which of the following symbols represents sample size?

a. X
b. y
c. n
d. M
ANS: C PTS: 1 DIF: Easy REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Knowledge

19. What does the symbol M represent?

a. Population size
b. Sample Size
c. Mean
d. Individual score
ANS: C PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Average Function
OBJ: Understanding measures of central tendency COG: Knowledge
20. If you know M = 5, and the sum of scores is 20, what is
n? a. 4
b. .25
c. 100
d. Need more information
ANS: A PTS: 1 DIF: Medium REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Application

21. If X 4,390 and n = 4, what is M? a.

17,560
b. .0100
c. 1097.5
d. Need more information
ANS: C PTS: 1 DIF: Medium REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Application

22. What is the mean value for the following scores: 10, 35, 40, 60, 55, 25, 50?
a. 45
b. 44.17
c. 40
d. 39.29
ANS: D PTS: 1 DIF: Medium REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Application
23. What is the mean value of the following scores: 12, 25, 15, 27, 32, 8?
a. 19.83
b. 21.24
c. 20.00
d. 19.98
ANS: A PTS: 1 DIF: Medium REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Application

24. What is the mean value of the following scores: 1.11, 1.17, 1.15, 2.02, 2.07, 3.11, 2.14?
a. 2.14
b. 2.07
c. 1.74
d. 1.82
ANS: D PTS: 1 DIF: Medium REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Application

25. What is the mean value of the following scores: 117, 132, 147, 156, 196?
a. 151.2
b. 149.6
c. 147.0
d. 148.7
ANS: B PTS: 1 DIF: Medium REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Application

26. Your current exam mean is 97.2. If you receive a 99 on the next exam, this will have the
effect of
a. Increasing your mean
b. Decreasing your mean
c. Having no effect on your mean
d. Cannot be determined
ANS: A PTS: 1 DIF: Hard REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Analysis

27. Your current exam mean is 93.2. If you receive an 87 on the next exam, this will have
the effect of
a. Increasing your mean
b. Decreasing your mean
c. Having no effect on your mean
d. Cannot determine
ANS: B PTS: 1 DIF: Hard REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Analysis

28. Your current exam mean is 95. If you receive a 95 on the next exam, this will have the
effect of
a. Increasing your mean
b. Decreasing your mean
 c. Having no effect on your mean
d. Cannot be determined
ANS: C PTS: 1 DIF: Hard REF: Computing the Mean
OBJ: Understanding measures of central tendency COG: Analysis

29. Which measure of central tendency is most influenced by outliers?

a. Median
b. Mode
c. Mean
d. Variance
ANS: C PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Knowledge

30. What does the large N represent?

a. Sample size
b. Population size
c. Sum of scores
d. Mean score
ANS: B PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Average Function
OBJ: Understanding measures of central tendency COG: Knowledge

31. What does the small n represent?

a. Sample size
b. Population size
c. Sum of scores
d. Mean score
ANS: A PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Average Function
OBJ: Understanding measures of central tendency COG: Knowledge

32. Which measure of central tendency is also known as the midpoint for a set of scores?
a. Mode
b. Mean
c. Median
d. Sum
ANS: C PTS: 1 DIF: Easy REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Knowledge

33. For which of the following is the sum of the deviations from the mean always equal to zero?
a. Harmonic mean
b. Arithmetic mean
c. Standard deviation
d. Variance
ANS: B PTS: 1 DIF: Hard
REF: And Now . . . Using Excel’s Average Function
 OBJ: Understanding measures of central tendency COG: Knowledge

34. What are Greek letters used to represent?

a. Population parameters
b. Sample data
c. Sample statistics
d. Outliers
ANS: A PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Average Function
OBJ: Understanding measures of central tendency COG: Knowledge

35. The letter would be used to represent (a) _.

a. Population parameter
b. Sample statistic
c. Inferential data
d. Outliers
ANS: A PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Average Function
OBJ: Understanding measures of central tendency COG: Comprehension

36. What are Roman letters used to represent?

a. Population parameters
b. Sample statistics
c. Sample data
d. Outliers
ANS: B PTS: 1 DIF: Medium
REF: Computing a Weighted Mean OBJ: Understanding measures of central tendency
COG: Knowledge

37. The letter X with a bar over it is used to represent (a) .

a. Outliers
b. Sample statistic
c. Population parameter
d. Inferential statistics
ANS: B PTS: 1 DIF: Medium
REF: Computing a Weighted Mean OBJ: Understanding measures of central tendency
COG: Knowledge

38. Which of the following defines the median?

a. Sum of all values in a group
b. Most frequently occurring value
c. Average variability in a set of scores
d. Midpoint in a set of scores
ANS: D PTS: 1 DIF: Easy REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Knowledge

39. What is the median for the following amounts: $11.75, $12.75, $13.00, $10.75,
$11.50, $10.50, $10.75?
 a. $11.50
b. $11.75
c. $11.57
d. $11.00
ANS: A PTS: 1 DIF: Medium REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Application

40. What is the median for the following amounts: $13,400; $17,560; $45,440; $68,550; $96,400?
a. $13,400
b. $48,240
c. $45,440
d. $96,400
ANS: C PTS: 1 DIF: Medium REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Application

41. What is the median of the following set of scores: 23, 17, 15, 32, 38, 47?
a. 23
b. 32
c. 17.4
d. 27.5
ANS: D PTS: 1 DIF: Medium REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Application

42. What is the median of the following set of scores: 1.3, 4.7, 2.3, 3.3, 3.0, 2.9?
a. 2.95
b. 3.05
c. 2.90
d. 3.00
ANS: A PTS: 1 DIF: Medium REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Application

43. When there is an even number of scores, how is the median calculated?
a. Average the two middle scores.
b. Use the smaller of the two middle scores.
c. Use the larger of the two middle scores.
d. The median cannot be calculated.
ANS: A PTS: 1 DIF: Easy REF: Computing the Median
OBJ: Understanding measures of central tendency COG: Comprehension

44. With regard to percentile points, what is the median also known as?
a. Q1
b. Q2
c. Q3
d. Q4
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Knowledge
ANS: B PTS: 1 DIF: Easy

REF: And Now . . . Using Excel’s Median Function

OBJ: Understanding measures of central tendency COG: Knowledge
45. What is the 25th percentile also known as?
a. Q1
b. Q2
c. Q3
d. Q4
ANS: A PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Knowledge

46. What is the 75th percentile also known as?

a. Q1
b. Q2
c. Q3
d. Q4
ANS: C PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Median Function

47. Market researchers sent out a survey to college students in Ohio to assess their preferences
in regard to three different brands of honey. When examining the average preference of the
respondents, which measure of central tendency is most likely to be used to describe them?
a. Median
b. Mean
c. Mode
d. Cannot be determined
ANS: C PTS: 1 DIF: Medium REF: When To Use What
OBJ: Selecting a measure of central tendency COG: Application

48. What impact do extreme scores have on the median?

a. Positive skew
b. Negative skew
c. Minimal impact
d. Nullify the value
ANS: C PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Comprehension

49. Which of the following are used to define the percentage of cases equal to and below a
certain point in a distribution of scores?
a. T scores
b. Q points
c. Standard scores
d. Percentile points
ANS: D PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Knowledge
50. A test score in the 97th percentile would be considered .
a. Very high
b. Very low
c. About average
d. Cannot be determined
ANS: A PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Comprehension

51. A test score in the third percentile would be considered .

a. Very high
b. Very low
c. About average
d. Cannot be determined
ANS: B PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Comprehension

52. A test score in the 47th percentile would be considered .

a. Very high
b. Very low
c. About average
d. Cannot be determined
ANS: C PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Comprehension

53. If you were to calculate the average of individual income, and you found many
extreme scores, which measure of central tendency should be used?
a. Mean
b. Median
c. Mode
d. Standard error
ANS: B PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Selecting a measure of central tendency COG: Application

54. If you were to calculate the average of individual income, and you found no outliers,
which measure of central tendency should you use?
a. Mode
b. Median
c. Mean
d. Other
ANS: C PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Selecting a measure of central tendency COG: Application

55. What does the term skew mean?

 a. Significantly distort
b. Divide
c. Add
d. Equalize
ANS: A PTS: 1 DIF: Easy
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Knowledge

56. Which of the following sets of data illustrates skew?

a. 2,3,5,7,9
b. 450, 472, 523, 547, 601
c. 23, 37, 42, 51, 147
d. 12, 14, 15, 17, 19
ANS: C PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Understanding measures of central tendency COG: Application

57. What would be your preferred measure of central tendency if you had the following
data: $32,400; $42,500; $47,250; $49,570; $145,850?
a. Mean
b. Median
c. Mode
d. Weighted mean
ANS: B PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Selecting a measure of central tendency COG: Analysis

58. What would be your preferred measure of central tendency if you had the following
data: $31,550; $33,750; $34,700; $37,550; $39,275?
a. Mean
b. Mode
c. Median
d. Average
ANS: A PTS: 1 DIF: Medium
REF: And Now . . . Using Excel’s Median Function
OBJ: Selecting a measure of central tendency COG: Analysis

59. What would be your preferred measure of central tendency if you had the following data:
23 Americans, 57 Mexicans, and 14 Canadians?
a. Mean
b. Weighted mean
c. Median
d. Mode
ANS: D PTS: 1 DIF: Medium REF: Computing the
OBJ: Selecting a measure of central tendency COG: Mode Analysis

60. What would be your preferred measure of central tendency if you had the following data:
57 males and 23 females?
 a. Median
b. Weighted mean
c. Mean
d. Mode
ANS: D PTS: 1 DIF: Medium REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Analysis

61. Which of the following best describes the mode?

a. Sum of all values in a group
b. Midpoint in a set of scores
c. Number of subject collected
d. Most frequently occurring value(s)
ANS: D PTS: 1 DIF: Easy REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Knowledge

62. The mode will always consist of the following:

a. The number of cases in the category
b. The name of the category
c. The format of the category
d. The size of the category
ANS: B PTS: 1 DIF: Easy REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Knowledge

63. What is the mode of the following data: 47 Republicans, 49 Democrats, and 52 independents?
a. 52
b. Republicans
c. Democrats
d. Independents
ANS: D PTS: 1 DIF: Medium REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Application

64. What is the mode of the following data: 57 males and 43 females?
a. 57
b. Males
c. Females
d. Cannot be determined
ANS: B PTS: 1 DIF: Medium REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Application

65. What is the mode of the following data: 52 bowls of spaghetti, 37 bowls of cereal,
14 sandwiches, and 17 personal pizzas?
a. Bowls of cereal
b. Sandwiches
c. 52
d. Bowls of spaghetti
ANS: D PTS: 1 DIF: Medium REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Application
 66. Which of the following represents a bimodal distribution?
a. 23 males and 14 females
b. 43 New Yorkers, 14 Kentuckians, and 7 Wyomingites
c. 23 professors and 22 researchers
d. 14 individuals with blonde hair and 8 individuals with brown hair
ANS: C PTS: 1 DIF: Hard
REF: And Now . . . Using Excel’s Mode.SNGL Function
OBJ: Understanding measures of central tendency COG: Application

67. When describing a set of nominal data, a researcher should use which of the
following measures of central tendency?
a. Mode
b. Median
c. Standard deviation
d. Mean
ANS: A PTS: 1 DIF: Medium REF: Computing the
OBJ: Selecting a measure of central tendency COG: Mode Analysis

68. This is another word for a single observation:

a. A data point
b. Data
c. A sample
d. A population
ANS: A PTS: 1 DIF: Easy
REF: Sigma Freud and Descriptive Statistics
OBJ: Understanding measures of central tendency COG: Knowledge

69. Which of the following measures of central tendency is the least precise representation of
a group of scores?
a. Mode
b. Median
c. Mean
d. Average
ANS: A PTS: 1 DIF: Easy REF: Computing the Mode
OBJ: Understanding measures of central tendency COG: Knowledge

TRUE/FALSE

1. While there are three measures of central tendency, the mean, median, and mode are
all interchangeable anyway.
ANS: F PTS: 1 DIF: Easy
REF: Computing and Understanding Averages
OBJ: Understanding measures of central tendency COG: Comprehension

2. A researcher should use the mode as a measure of central tendency when the data
are qualitative in nature.
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Title: History of Spanish Literature, vol. 3 (of 3)

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*** START OF THE PROJECT GUTENBERG EBOOK HISTORY OF

SPANISH LITERATURE, VOL. 3 (OF 3) ***
Transcriber's note
Table of Contents
Index
 H I S TO RY
OF

S PA N I S H L I T E R AT U R E .

VOL. III.
 H I S TO RY

OF

S PA N I S H L I T E R AT U R E .
BY

GEORGE TICKNOR.

IN THREE VOLUMES.
VOLUME III.

NEW YORK:
HARPER AND BROTHERS, 82 CLIFF STREET.
M DCCC XLIX.
 Entered according to Act of Congress, in the year 1849, by
G e o r g e T i c k n o r,
in the Clerk’s Office of the District Court of the District of Massachusetts.
 CONTENTS

OF

V O L U M E T H I R D.

SECOND PERIOD.
( C o n t i n u e d .)

CHAPTER XXXI.
Satirical Poetry, Epistolary, Elegiac, Pastoral,
Epigrammatic, Didactic, and Descriptive.

Satirical Poetry 3
Mendoza, Boscan 3
Castillejo, Montemayor 4
Padilla, Cantorál 4
Murillo, Artieda 4
Barahona de Soto 4
Juan de Jauregui 4
The Argensolas 5
Quevedo, Góngora 5
Cervantes, Espinel 6
Arguijo, Rioja 6
Salcedo, Ulloa, Melo 6
Rebolledo, Solís 6
Satire discouraged 7
Elegiac Poetry 8
Garcilasso 8
Figueroa, Silvestre 9
Cantorál, the Argensolas 9
Borja, Herrera 9
Rioja, Quevedo 9
Villegas 9
Elegy does not succeed 9
Pastoral Poetry 10
Garcilasso, Boscan, Mendoza 10
Figueroa, Cantorál 10
Montemayor 10
Saa de Miranda 10
Polo, Balbuena 12
Barahona de Soto 12
Padilla, Silvestre 12
Pedro de Enzinas 12
Morales, Tapia 13
Balvas, Villegas 13
Carrillo, Esquilache 13
Quevedo, Espinosa 13
Soto de Roxas, Zarate 13
Ulloa, Los Reyes 13
Barrios, Inez de la Cruz 13
Pastorals successful 14
Epigrams, amatory 14
Maldonado, Silvestre 15
Villegas, Góngora 15
Camoens, Argensolas 15
Villegas, Quevedo 15
Esquilache 15
Francisco de la Torre 15
Rebolledo 16
Didactic Poetry 17
Earliest 17
In the Cancioneros 17
Boscan, Silvestre, Mendoza 17
Guzman, Aldana, Rufo 19
Virues, Cantorál 19
Morillo, Salas 19
Argensola, Artieda 19
Mesa, Espinel 19
Juan de la Cueva 20
Pablo de Céspedes 20
Lope de Vega 22
Rebolledo, Trapeza 22
Emblems 22
Daza, Covarrubias 22
Descriptive Poetry 23
Dicastillo 23
Didactic Poetry fails 23

CHAPTER XXXII.
Ballad Poetry.

Effect of the Romanceros 25

Lorenzo de Sepúlveda 26
Alonso de Fuentes 27
Juan de Timoneda 29
Pedro de Padilla 30
Juan de la Cueva 31
Ginés Perez de Hita 31
Hidalgo, Valdivielso 31
Lope de Vega 32
Arellano 32
Roca y Serna, Esquilache 33
Mendoza, Quevedo 33
Silva de Romances 33
Los Doce Pares 34
Romancero del Cid 34
Primavera de Perez 34
Esquilache 35
Silvestre, Montemayor 35
Espinel, Castillejo 35
Lopez de Maldonado 35
Góngora, Arteaga 35
Villamediana, Coronel 35
Cervantes, Lope de Vega 36
Fereira, Alarcon 36
Diego de la Chica 36
Universal Love of Ballads 37
 CHAPTER XXXIII.
Romantic Fiction. — Prose Pastorals.

Romances of Chivalry 38
Changed Taste 39
Seen in Pastoral Fictions 39
Shepherd’s Life in Spain 39
Sannazaro in Italy 40
Montemayor 41
His Diana Enamorada 41
Continued by Perez 43
And by Gil Polo 44
Antonio de Lo Frasso 45
Luis Galvez de Montalvo 46
His Fílida 46
Cervantes 47
Bartolomé de Enciso 47
Bovadilla 48
Bernardo de la Vega 48
Lope de Vega 49
Bernardo de Balbuena 49
His Siglo de Oro 49
Suarez de Figueroa 50
His Amaryllis and Pastor Fido 50
Adorno, Botelho 51
Quintana, Cuevas 51
Corral, Saavedra 51
Popularity of Pastorals 52
Their Incongruities 53
Their Foundation 54
Their Failure 54

C H A P T E R X X X I V.
Romantic Fiction, continued. — Stories in the Gusto
Picaresco.

Their Origin 55
Military Life 56
Contempt for honest Labor 56
Feeling of the lower Classes 57
The Pícaros 58
Lazarillo de Tórmes 58
Mateo Aleman 59
His Guzman de Alfarache 59
Spurious Second Part 61
Genuine Second Part 61
Andreas Perez 66
His Pícara Justina 67
Drama and Short Tales 67
Vicente Espinel 67
His Marcos de Obregon 68
Yañez y Rivera 71
His Alonso 71
Quevedo, Solorzano 72
Enriquez Gomez 73
Estevanillo Gonzalez 74
Success of Pícaro Stories 75

C H A P T E R X X X V.
Romantic Fiction, continued. — Serious and
Historical Romances.

Early Specimens 76
Juan de Flores 77
Nuñez de Reinoso 77
Luzindaro y Medusina 77
Hierónimo de Contreras 78
Relations with Italy and Algiers 79
Ginés Perez de Hita 79
His Guerras de Granada 79
Not imitated 84
La Cryselia de Lidaceli 86
Benito Remigio Noydens 86
Gonzalo de Céspedes 87
Cervantes, Lamarca 87
Dos Verdaderos Amigos 88
Valladares de Valdelomar 88
Grave Fictions discouraged 89
Cosmé de Texada 90
Christóval Lozano 91
Serious Fictions not successful 92

CHAPTER XXXVI.
Romantic Fiction, concluded. — Tales.

Arise from the State of Society 93

Antonio de Villegas 93
His Story of Narvaez 94
Juan de Timoneda 96
His Patrañuelo 97
Cervantes, Hidalgo 99
Suarez, Figueroa 99
Salas Barbadillo 99
Eslava, Agreda 102
Liñan y Verdugo 103
Lope de Vega 103
Salazar, Lugo, Camerino 103
Changed Form of Tales 104
Tirso de Molina 104
Montalvan 105
Matias de los Reyes 106
Fernandez y Peralta 106
Montalvan 106
Céspedes y Meneses, Moya 107
Castro y Anaya 107
Mariana de Carbajal 107
María de Zayas 108
Mata, Castillo, Lozano 108
Solorzano 108
Alcalá, Villalpando, Prado 109
Isidro de Robles 109
Luis Velez de Guevara 110
Jacinto Polo 111
Marcos Garcia 112
Francisco Santos 113
Tales everywhere 117
Early Appearance of Romantic Fiction 118
Its early Decay 119

CHAPTER XXXVII.
Eloquence. — Epistolary Correspondence.

Forensic Eloquence little cultivated 121

Courts of Justice 121
Cortes 121
Eloquence of the Pulpit 122
Luis de Leon 123
Luis de Granada 123
Cultismo in the Pulpit 127
Paravicino 127
Pulpit Eloquence fails 128
Letter-writers formal 128
Queen Isabella, Columbus 128
Guevara, Avila 129
Zurita and his Friends 129
Antonio Perez 130
Santa Teresa 135
Argensola, Lope de Vega 136
Quevedo, Cascales 136
Antonio, Solís 136

CHAPTER XXXVIII.
Historical Composition.

Fathers of Spanish History 138

Gerónimo de Zurita 138
Ambrosio de Morales 141
Diego de Mendoza 142
Ribadeneyra, Siguenza 142
Juan de Mariana 143
His Persecutions 146
His History of Spain 147
Prudencio Sandoval 151
Spanish Discoveries and Conquests 153
Antonio de Herrera 153
Bartolomé de Argensola 155
Garcilasso de la Vega, Inca 155
Francisco de Moncada 159
Coloma, Marquis of Espinar 160
Manuel Melo 161
Saavedra Faxardo 164
Antonio Solís 164
Character of Spanish History 167

CHAPTER XXXIX.
Didactic Prose.

Proverbs 169
Oldest 170
Marquis of Santillana 170
Garay, Valles, Nuñez 171
Mal Lara, Palmireno 172
Oudin, Sorapan, Cejudo 172
Juan de Yriarte 173
Great Number of Proverbs 173
Didactic Prose 174
Antonio de Torquemada 174
Christóval de Acosta 175
Luis de Granada 176
Juan de la Cruz 178
Santa Teresa 179
School of Spiritualists 180
Malon de Chaide 180
Agustin de Roxas 181
Suarez de Figueroa 183
Marquez, Vera y Zuñiga 184
Fernandez de Navarrete 184
Saavedra Faxardo 185
Quevedo, Antonio de Vega 186
Nieremberg, Benavente 186
Guzman, Dantisco 187
Andrada, Villalobos 188
Aleman, Faria y Sousa 188
 Francisco de Andrade 189
Cultismo in Spanish Prose 190
Paravicino 191
Baltazar Gracian 191
Cultismo prevails 194
Juan de Zabaleta 194
Lozano, Heredia, Ramirez 195
Small Success of Didactic Prose 196

CHAPTER XL.
Concluding Remarks on the Period.

Decay of the Spanish Character 198

Charles the Fifth, Philip the Second 199
Philip the Third 200
Philip the Fourth 201
Charles the Second 203
Degradation of the Country 203
Religion sinks into Bigotry 204
Loyalty sinks into Servility 207
Literature fails with Character 209

THIRD PERIOD.
The Literature that existed in Spain between the Accession of the Bourbon Family and
the Invasion of Bonaparte; or from the Beginning of the Eighteenth Century to the
Early Part of the Nineteenth.

CHAPTER I.
Reign of Philip the Fifth.

Death of Charles the Second 213

His Will 214
War of the Succession 214
Peace of Utrecht 214
Philip the Fifth 215
Academy of the Language 216
State of the Language 217
Dictionaries of the Language 219
Dictionary of the Academy 219
Its Orthography 220
Its Grammar 221
Its other Labors 223
Other Academies 223
State of Poetry 224
Moraes 225
Reynosa, Cevallos 226
Lobo, Benegasi 227
Alvarez de Toledo 228
Antonio Muñoz 228
Sagradas’s Flores 228
Jorge de Pitillas 229

CHAPTER II.
Reign of Philip the Fifth, concluded.

Marquis of San Phelipe 230

French Influences 232
Translations from the French 233
Ignacio de Luzan 233
Elder Works on Criticism 235
Enzina, Rengifo, Lopez 236
Cascales, Salas 236
Luzan’s Poética 237
State of the Moral and Physical Sciences 239
State of the Universities 240
Low State of Spanish Culture 240
Benito Feyjoó 242
His Teatro Crítico 244
His Cartas Eruditas 244
Effect of his Works 245

CHAPTER III.
Reigns of Philip the Fifth and Ferdinand the Sixth.
The Inquisition 246
Intolerance 247
Autos da Fé and Judaism 248
Culture under Ferdinand 249
The Inquisition 249
Policy of the State 250
Condition of Letters 250
Saldueña, Moraleja, Ortiz 250
Academy of Good Taste 251
Velazquez 251
Mayans y Siscar 252
Blas Nasarre 253

C H A P T E R I V.
Reign of Charles the Third.

State of the Country 254

Character of the King 255
The Jesuits 256
The Universities 256
The Inquisition 257
Dawn of Better Things 258
Father Isla 258
His Juventud Triunfante 258
His Dia Grande 259
His Sermones 260
His Fray Gerundio 260
His Exile 264
His Cicero 265
His Translation of Gil Blas 266
Question of its Authorship 266
Efforts to restore the Old School 270
Sedano, Sanchez, Sarmiento 271
Efforts to encourage the French School 272
Moratin the Elder 272
Club of Men of Letters 274
Cadahalso 275
Yriarte 277
His Fables 279
Samaniego 280
His Fables 281
Arroyal, Montengon 282
Salas, Meras, Noroña 282

C H A P T E R V.
School of Salamanca and other Poets. — Reign of
Charles the Fourth.

State of Literary Parties 285

Melendez Valdes 285
His Works 287
His Exile and Death 291
Gonzalez 293
Forner 294
Iglesias 294
Cienfuegos 295
Jovellanos 297
Connected with Melendez 298
His Political Services 299
His Exiles 300
His Share in the Revolution 301
His Death 303
His Character 304
Muñoz 305
Escoiquiz 306
Moratin the Younger 307
His Relations to Godoy 308
Quintana 309

CHAPTER VI.
The Theatre in the Eighteenth Century.

Important Movement 312

Translations from the French 312
Cañizares, Torres, Lobo 313
Lower Classes rule 313
The old Court-yards 314
The new Theatres 314
The Opera 315
Castro, Añerbe, Montiano 316
The Virginia and Athaulpho 317
Translations from the French 318
The Petimetra of Moratin the Elder 318
His Hormesinda 319
His Guzman el Bueno 319
Cadahalso 319
Sebastian y Latre 320
Yriarte, Melendez 321
Ayala 321
Huerta 322
Jovellanos 323
Autos suppressed 324
Low State of the Theatre 325
Ramon de la Cruz 326
Sedano, Lassala, Cortés 329
Cienfuegos, Huerta 329
Discussions 330
Valladares, Zavala 331
Comella 332
Moratin the Younger 333
Patronized by Godoy 334
His first Play 335
His Nueva Comedia 336
His Baron and Mogigata 337
His Sí de las Niñas 338
His Translations 339
State of the Drama 340
Actors of Note 340
State of the Theatre 341
Prospects 341

CHAPTER VII.
Reigns of Charles the Fourth and Ferdinand the
Seventh. — Conclusion.

Charles the Fourth and Godoy 343

French Revolution 343
Index Expurgatorius 344
Affair of the Escurial 345
Abdication 345
French Invasion 345
French expelled 346
Ferdinand the Seventh 346
Effect of the Times on Letters 347
Interregnum in Culture 349
Revival of Letters 349
Prospects for the Future 350

APPENDIX, A.
Origin of the Spanish Language.

Spain and its Name 355

The Iberians in Spain 356
The Celts 357
The Celtiberians 358
The Phœnicians 358
The Carthaginians 359
The Romans 360
Their Colonies 362
Their Language 363
Their Writers 364
Christianity introduced 365
Its Effects on the Language 366
Irruption of the Northern Tribes 368
The Franks, Vandali, etc. 369
The Goths 369
Their Culture 370
Their Effect on the Language 371
The Arabs 372
Their Invasion 373
Their Effect on the Provençal 374
Their Refinement 375
The Christians and Pelayo 376
The Mozárabes 377
Their Influence 378
Their Reunion 379
The Language of the North 380
How modified 381
First written Spanish 382
Carta Puebla de Avilés 383
The Romance 384
The Spanish or Castilian 384
Materials that compose it 385
Its rapid Prevalence 386

A P P E N D I X , B.
The Romanceros.

Ballads on separate Sheets 388

Oldest Ballad-book 389
That of Antwerp 390
Other early Ballad-books 392
Ballad-book in Nine Parts 392
Romancero General 393
Early Selections from the Romanceros 394
Recent Selections 395
What is still wanted 396

APPENDIX, C.
Fernan Gomez de Cibdareal and the Centon
Epistolario.

Suggestions on its Genuineness 397

Probably a Forgery 398
No such Person mentioned early 398
No Manuscript of the Letters 398
Date of the earliest Edition false 398
Second Edition admits it 398
No Date to the Letters at first 399
Their Style 399
That of the First Edition 399
Misstatements about Juan de Mena 399
About Barrientos 400
About Alvaro de Luna 401
Appeared in an Age of Forgeries 402
State of the Question 403

A P P E N D I X , D.
The Buscapié.

Statement by Los Rios 404

By Ruydiaz 405
Effect of their Statements 406
Don Adolfo de Castro 406
Publishes a Buscapié 406
What it is 407
Contradicts Los Rios and Ruydiaz 408
Its long Concealment suspicious 408
Its External Evidence 409
Argote de Molina 409
The Duke of Lafões 410
Don Pascual de Gándara 411
Its Internal Evidence 411
Resemblances to the Style of Cervantes 411
Mistake about Enzinas 412
About an old Proverb 413
Its Title-page 414
Its Notice of Alcalá 414
State of the Question 415

APPENDIX, E.
Editions, Translations, and Imitations of the Don
Quixote.

First Part 416

Second Part 417
Both Parts 417
Lord Carteret’s Edition 417
That of the Academy 418
Of Bowle 418
Of Pellicer 418
Of Clemencin 419
Translations 419
Imitations out of Spain 420
In Spain 421
Its Fame everywhere 422

A P P E N D I X , F.
Early Collections of Old Spanish Plays.

Comedias de Diferentes Autores 423

Comedias Nuevas Escogidas 424
Various smaller Collections 426

APPENDIX, G.
On the Origin of Cultismo.

Controversy about it in Italy 427

Bettinelli and Tiraboschi 427
Spanish Jesuits in Italy 428
Serrano and Andres 428
Vannetti and Zorzi 428
Arteaga and Isla 429
Lampillas 429
End of the Controversy 430
Result of it 431

APPENDIX, H.
Inedita.

No. I. Poema de José el Patriarca 432

No. II. La Danza General de la Muerte 459
No. III. El Libro del Rabi Santob 475

Index 505
 H I S TO RY
OF

S PA N I S H L I T E R AT U R E .

SECOND PERIOD.

The Literature that existed in Spain from the Accession of the Austrian
Family to its Extinction, or from the Beginning of the Sixteenth Century
To the End of the Seventeenth.

(CONTINUED.)
 H I S TO RY
OF

S PA N I S H L I T E R AT U R E .

S E C O N D P E R I O D.
(CONTINUED.)

CHAPTER XXXI.
Satirical Poetry: The Argensolas, Quevedo, and others. — Elegiac Poetry and Epistles:
Garcilasso, Herrera, and others. — Pastoral Poetry: Saa de Miranda, Balbuena,
Esquilache, and others. — Epigrams: Villegas, Rebolledo, and others. — Didactic
Poetry: Rufo, Cueva, Céspedes, and others. — Emblems: Daza, Covarrubias. —
Descriptive Poetry: Dicastillo.

Satirical poetry, whether in the form of regular satires, or in the

more familiar guise of epistles, has never enjoyed a wide success in
Spain. Its spirit, indeed, was known there from the times of the
Archpriest of Hita and Rodrigo Cota, both of whom seem to have
been thoroughly imbued with it. Torres Naharro, too, in the early
part of the sixteenth century, and Silvestre and Castillejo a little later,
still sustained it, and wrote satires in the short national verse, with
much of the earlier freedom, and all the bitterness, that originally
accompanied it.
But after Mendoza and Boscan, in the middle of that century, had
sent poetical epistles to one another written in the manner of
Horace, though in the Italian terza rima, the fashion was changed. A
rich, strong invective, such as Castillejo dared to use when he wrote
the “Satire on Women,” which was often reprinted and greatly
relished, was almost entirely laid aside; and a more cultivated and
philosophical tone, suited to the stately times of Charles the Fifth
and Philip the Second, took its place. Montemayor, it is true, and
Padilla, with a few wits of less note, wrote in both manners; but
Cantorál with little talent, Gregorio Murillo with a good deal, and Rey
de Artieda in a familiar style that was more winning than either, took
the new direction so decidedly, that, from the beginning of the
seventeenth century, the change may be considered as substantially
settled.[1]
Barahona de Soto was among the earliest that wrote in this new
form, which was a union of the Roman with the Italian. We have
four of his satires, composed after he had served in the Morisco
wars; the first and the last of which, assailing all bad poets, show
plainly the school to which he belonged and the direction he wished
to follow. But his efforts, though seriously made, did not raise him
above an untolerated mediocrity.[2]
A single satire of Jauregui, addressed to Lydia, as if she might
have been the Lydia of Horace, is better.[3] But in the particular style
and manner of the philosophical Horatian satire, none succeeded so
well as the two Argensolas. Their discussions are, it is true,
sometimes too grave and too long; but they give us spirited pictures
of the manners of their times. The sketch of a profligate lady of
fashion, for instance, in the one to Flora, by Lupercio, is excellent,
and so are long passages in two others against a court life, by
Bartolomé. All three, however, are too much protracted, and the last
contains a poor repetition of the fable of the Country Mouse and the
City Mouse, in which, as almost everywhere else, its author’s
relations to Horace are apparent.[4]
Quevedo, on the other hand, followed Juvenal, whose hard,
unsparing temper was better suited to his own tastes, and to a
disposition embittered by cruel persecutions. But Quevedo is often
free and indecorous, as well as harsh, and offends that sensibility to
virtue which a satirist ought carefully to cultivate. It should, however,
be remembered in his favor, that, though living under the despotism
of the Philips, and crushed by it, no Spanish poet stands before him
in the spirit of an independent and vigorous satire. Góngora
approaches him on some occasions, but Góngora rarely dealt with
grave subjects, and confined his satire almost entirely to burlesque
ballads and sonnets, which he wrote in the fervor of his youth. At no
period of his life, and certainly not after he went to court, would he
have hazarded a satirical epistle like the one on the decay of
Castilian spirit and the corruption of Castilian manners, which
Quevedo had the courage to send to the Count Duke Olivares, when
he was at the height of his influence.[5]
The greatest contemporaries of both of them hardly turned their
thoughts in this direction; for as to Cervantes, his “Journey to
Parnassus” is quite too good-natured an imitation of Caporali to be
classed among satires, even if its form permitted it to be placed
there; and as to Lope de Vega, though some of his sonnets and
other shorter poems are full of spirit and severity, especially those
that pass under the name of Burguillos, still his whole course, and
the popular favor that followed it, naturally prevented him from
seeking occasions to do or say any thing ungracious.
Nor did the state of society at this period favor the advancement,
or even the continuance, of any such spirit. The epistles of Espinel
and Arguijo are, therefore, absolutely grave and solemn; and those
of Rioja, Salcedo, Ulloa, and Melo are not only grave, but are almost
entirely destitute of poetical merit, except one by the first of them,
addressed to Fabio, which, if neither gay nor witty, is an admirably
wise moral rebuke of the folly and irksomeness of depending on
royal favor. Borja is more free, as became his high station, and
speaks out more plainly; but the best of his epistles—the one against
a court life—is not so good as the youthful tercetos on the same
subject by Góngora, nor equal to his own jesting address to his
collected poems. Rebolledo, his only successor of any note at the
time, is moral, but tiresome; and Solís, like the few that followed
him, is too dull to be remembered. Indeed, if Villegas in his old age,
when, perhaps, he had been soured by disappointment, had not
written three satires which he did not venture to publish, we should
have nothing worth notice as we approach the disheartening close of
this long period.[6]
Nearly all the didactic satires and nearly all the satirical epistles of
the best age of Spanish literature are Horatian in their tone, and
written in the Italian terza rima. In general, their spirit is light,
though philosophical,—sometimes it is courtly,—and, taken together,
they have less poetical force and a less decided coloring than we
might claim from the class to which they belong. But they are
frequently graceful and agreeable, and some of them will be oftener
read, for the mere pleasure they bestow, than many in other
languages which are distinguished for greater wit and severity.
The truth, however, is, that wit and severity of this kind and in
this form were never heartily encouraged in Spain. The nation itself
has always been too grave and dignified to ask or endure the
censure they imply; and if such a character as the Spanish has its
ridiculous side, it must be approached by any thing rather than
personal satire. Books like the romances of chivalry may, indeed, be
assailed with effect, as they were by Cervantes; men in classes may
be caricatured, as they are in the Spanish picaresque novels and in
the old drama; and bad poetry may be ridiculed, as it was by half
the poets who did not write it, and by some who did. But the
characters of individuals, and especially of those in high station and
of much notoriety, are protected, under such circumstances, by all
the social influences that can be brought to their defence, and
cannot safely be assailed.
Such, at least, was the case in Spain. Poetical satire came there
to be looked upon with distrust, so that it was thought to be hardly
in good taste, or according to the conventions of good society, to
indulge in its composition.[7] And if, with all this, we remember the
anxious nature of the political tyranny which long ruled the country,
and the noiseless, sleepless vigilance of the Inquisition,—both of
which are apparent in the certificates and licenses that usher in
whatever succeeded in finding its way through the press,—we shall
have no difficulty in accounting for the fact, that poetical satire never
had a vigorous and healthy existence in Spain, and that, after the
latter part of the seventeenth century, it almost entirely disappeared
till better times revived it.

Elegies, though from their subjects little connected with satire,

are yet, by their measure and manner, connected with it in Spanish
poetry; for both are generally written in the Italian terza rima, and
both are often thrown into the form of epistles.[8] Garcilasso could
write elegies in their true spirit; but the second that passes under
that name in his works is merely a familiar epistle to a friend. So is
the first by Figueroa, which is followed by others in a tone more
appropriate to their titles. But all are in the Italian verse and manner,
and two of them in the Italian language. The eleven “Lamentations,”
as he calls them, of Silvestre, are elegiac epistles to his lady-love,
written in the old Castilian measures, and not without the old
Castilian poetical spirit. Cantorál fails; nor can the Argensolas and
Borja be said to have succeeded, though they wrote in different
manners, some of which were scarcely elegiac. Herrera is too lyric—
too lofty, perhaps, from the very nature of his genius—to write good
elegies; but some of those on his love, and one in which he mourns
over the passions that survive the decay of his youth, have certainly
both beauty and tenderness.
Rioja, on the contrary, seems to have been of the true
temperament, and to have written elegies from instinct, though he
called them Silvas; while Quevedo, if he were the author of the
poems that pass under the name of the Bachiller de la Torre, must
have done violence to his genius in the composition of ten short
pieces, which he calls Endechas, in Adonian verse, but which read
much like imitations of some of the gentler among the old ballads. If
to these we add the thirteen elegies of Villegas, nearly all of which
are epistles, and one or two of them light and amusing epistles, we
shall have what is most worthy of notice in this small division of
Spanish poetry during the sixteenth and seventeenth centuries, that
has not been already considered. From the whole, we should
naturally infer that the Spanish temperament was little fitted to the
subdued, simple, and gentle tone of the proper elegy; a conclusion
that is undoubtedly true, notwithstanding the examples of Garcilasso
and Rioja, the best and most elegiac portions of whose poetry do
not even bear its name.[9]

Pastoral poetry in Spain is directly connected with elegiac,

through the eclogues of Garcilasso, which unite the attributes of
both. To his school, indeed, including Boscan and Mendoza, we trace
the earliest successful specimens of the more formal Spanish
pastoral, with the characteristics still recognized. But its origin is
much earlier. The climate and condition of the Peninsula, which from
a very remote period had favored the shepherd’s life and his
pursuits, facilitated, no doubt, if they did not occasion, the first
introduction into Spanish poetry of a pastoral tone, whose echoes
are heard far back among the old ballads. But the Italian forms of
pastoral verse were naturalized as soon as they were introduced.
Figueroa, Cantorál, Montemayor, and Saa de Miranda—the last two
of whom were Portuguese, and all of whom visited Italy and lived
there—contributed their efforts to those of Garcilasso and Boscan,
by writing Spanish eclogues in the Italian manner. All had a good
degree of success, but none so much as Saa de Miranda, who was
born in 1495, and died in 1558, and who, from the promptings of his
own genius, renounced the profession of the law, to which he was
bred, and the favor of the court, where his prospects were high, in
order to devote himself to poetry.
He was the first of the Portuguese who wrote in the forms
introduced by Boscan and Garcilasso, and none, perhaps, since his
time has appeared in them with more grace and power,—certainly
none in the particular form of eclogues. His pastorals, however, are
not all in the new manner. On the contrary, some of them are in the
ancient short verse, and seem to have been written before he was
acquainted with the change that had just been effected in Spanish
poetry. But all of them are in one spirit, and are marked by a
simplicity that well becomes the class of compositions to which they
belong, though it may rarely be found in them. This is true, both
when he writes his beautiful pastoral story of “The Mondego,” which
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