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364:(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,
249:'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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372:(1867), a play in which the author has ventured to place Shakespeare and Yorick upon the scene.
238:, 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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386:(Madrid, 1898–99). In 1858 Tamayo was elected a member of the
283:(1856) is notable solely for its excellent workmanship.
257:(1854), a historical drama which recalls the vigor of
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187:(15 September 1829 – 20 June 1898) was a Spanish
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31: and the second or maternal family name is
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490:(11th ed.). Cambridge University Press.
572:Diego de Villegas y Saavedra Quevedo (1733)
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271:, the passionate, love-sick daughter of
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326:(1866) is a great improvement upon Mme
510:Works by or about Manuel Tamayo y Baus
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689:Members of the Royal Spanish Academy
340:, which cost Tamayo his post at the
137:12 June 1859 – 20 June 1898
232:(1852) was derived from Schiller's
652:FĂ©lix de Llanos y Torriglia (1945)
593:JosĂ© JoaquĂn de Silva-Bazán (1776)
476:Fitzmaurice-Kelly, James (1911). "
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724:19th-century Spanish male writers
251:Aureliano Fernández-Guerra y Orbe
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348:(1868), a clever arrangement of
346:No hay mal que por bien no venga
344:, is indirectly responsible for
613:Juan González Cabo-Reluz (1841)
216:(1847), is an arrangement from
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608:AgustĂn GarcĂa Arrieta (1818)
501:Works by Manuel Tamayo y Baus
578:José de Carvajal y Lancáster
245:(1853), a dramatic essay in
241:His first great success was
23:, the first or paternal
645:Salvador BermĂşdez de Castro
290:Manuel Tamayo y Baus (1884)
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279:(1855) was a failure, and
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433:"Manuel Tamayo - letra O"
300:Adrien-Augustin-LĂ©on Laya
222:Una Aventura de Richelieu
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324:Más vale Maña que Fuerza
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567:Gonzalo Machado (1714)
550:Real Academia Española
438:Real Academia Española
420:Fitzmaurice-Kelly 1911
298:(1862), imitated from
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125:Real Academia Española
626:Emilio Ferrari (1905)
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478:Tamayo y Baus, Manuel
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226:Alexandre Dumas, père
619:Manuel Tamayo y Baus
598:Manuel Abella (1802)
331:Diplomatie du MĂ©nage
209:Geneviève de Brabant
185:Manuel Tamayo y Baus
73:Manuel Tamayo y Baus
709:Writers from Madrid
376:Los Hombres de bien
312:La Pierre de touche
308:Del dicho al Jiecho
273:Isabel the Catholic
264:The Madness of Love
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342:San Isidro Library
338:revolution of 1868
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43:The Most Excellent
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505:Project Gutenberg
358:Théodore Barrière
350:Le Feu au Couvent
267:(1855), in which
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79:1829-09-15
189:dramatist
133:In office
714:Carlists
380:Virginia
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218:Schiller
19:In this
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484:(ed.).
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304:Duc Job
247:Alfieri
123:of the
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480:". In
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230:Angela
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553:seat
384:Obras
352:, by
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