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375:(1863), which turned upon the immorality of duelling, and led to a warm discussion among the public. Written in prose, the piece is inspired by a breath of medieval piety which had not been felt in the Spanish theatre since the 17th century. This renascence of an old-world motive has induced many critics to consider
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in an arrangement from the French made by Tamayo when he was in his twelfth year. Through the influence of his uncle, Antonio Gil y Zárate, minister of education, Tamayo's independence was secured by his nomination to a post in a government office. The earliest of his printed pieces,
260:'s manner, remarkable for its ingenuity and noble diction. In 1854 Tamayo was expelled from his post by the new Liberal government, but was restored before long by Cándido Nocedal, a minister who had been struck by the young man's talent. He collaborated with
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It is unfortunate that Tamayo's straitened means forced him to put original work aside and to adapt pieces from the French. Examples of this sort are fairly numerous.
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389:(1870) was Tamayo's final contribution to the Spanish stage. His last years were spent in recasting his
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286:, figures as the chief personage, established Tamayo's reputation as Spain's leading playwright.
383:(1867), a play in which the author has ventured to place Shakespeare and Yorick upon the scene.
249:, but the atmosphere is Spanish, the situations are original, and the phrasing is Tamayo's own.
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Tamayos best work, but that distinction should be accorded rather to
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This article incorporates text from a publication now in the
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397:(Madrid, 1898–99). In 1858 Tamayo was elected a member of the
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294:(1856) is notable solely for its excellent workmanship.
268:(1854), a historical drama which recalls the vigor of
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198:(15 September 1829 – 20 June 1898) was a Spanish
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730:19th-century Spanish dramatists and playwrights
42: and the second or maternal family name is
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501:(11th ed.). Cambridge University Press.
583:Diego de Villegas y Saavedra Quevedo (1733)
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282:, the passionate, love-sick daughter of
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337:(1866) is a great improvement upon Mme
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521:Works by or about Manuel Tamayo y Baus
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700:Members of the Royal Spanish Academy
351:, which cost Tamayo his post at the
148:12 June 1859 – 20 June 1898
243:(1852) was derived from Schiller's
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663:FĂ©lix de Llanos y Torriglia (1945)
604:JosĂ© JoaquĂn de Silva-Bazán (1776)
487:Fitzmaurice-Kelly, James (1911). "
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735:19th-century Spanish male writers
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262:Aureliano Fernández-Guerra y Orbe
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359:(1868), a clever arrangement of
357:No hay mal que por bien no venga
355:, is indirectly responsible for
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227:(1847), is an arrangement from
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512:Works by Manuel Tamayo y Baus
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589:José de Carvajal y Lancáster
256:(1853), a dramatic essay in
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34:, the first or paternal
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656:Salvador BermĂşdez de Castro
301:Manuel Tamayo y Baus (1884)
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290:(1855) was a failure, and
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578:Gonzalo Machado (1714)
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431:Fitzmaurice-Kelly 1911
309:(1862), imitated from
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637:Emilio Ferrari (1905)
614:RamĂłn Chimioni (1817)
489:Tamayo y Baus, Manuel
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237:Alexandre Dumas, père
630:Manuel Tamayo y Baus
609:Manuel Abella (1802)
342:Diplomatie du MĂ©nage
220:Geneviève de Brabant
196:Manuel Tamayo y Baus
84:Manuel Tamayo y Baus
720:Writers from Madrid
387:Los Hombres de bien
323:La Pierre de touche
319:Del dicho al Jiecho
284:Isabel the Catholic
275:The Madness of Love
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353:San Isidro Library
349:revolution of 1868
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516:Project Gutenberg
369:Théodore Barrière
361:Le Feu au Couvent
278:(1855), in which
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