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enthusiastically received, as were five other
volumes that he completed during the next
few years. By the early 1840s he had already
developed an alternate field of activity in
the writing of plays, which also proved tre-
mendously popular. While some of these
stage productions were obviously deriva-
tive, including his version of the well-
known Don Juan story, Zorrilla's later
poems were more mature and balanced in
tone than his youthful effusions. They
drew upon the history and traditions of
“antique” Spain in a way that stirred
national pride while contributing to the
romantic image of his county that became
the accepted version of Spanish life and
culture throughout Europe.
Despite the success of both his poetry
and plays (or perhaps because of it) Zorril-
la's marriage and his finances fell into seri-
ous disarray. In 1855 he went abroad,
hoping to put his affairs in order, and con-
tinued to write prolifically—although
remaining persistently insolvent. Returning
to Spain in 1866 he adopted a more pru-
dent lifestyle, but it was not until 1889 that
he was enabled to enter his golden years
with dignity thanks to official recognition
as Spain's National Poet, an honor accom-
panied by a generous pension. While much
of his work has been relegated to dusty
bookshelves by the changing fashions of
the 20th century, Zorrilla remains the
quintessential Spanish author of his era,
exhibiting a distinctive approach to both
character and plot. Startling encounters,
overheard conversations, dastardly deeds,
and noble sacrifices were among the grati-
fying experiences that he offered his audi-
ences. His most famous work,
Don Juan
Tenorio
(1844), even manges to present the
infamous seducer in a romantic light, dis-
tinguishing him from the sinister and sinful
character created by T
IRSO
DE
M
OLINA
. It is
Zorrilla's romantic Don Juan that has won
the affections of an enduring public, and it
is he who still appears upon the stage and
even upon the screen. Some of his best
known poetical works are
Poesías
(Poems,
1837),
Cantos del trovador,
(Songs of the
troubador, 1841),
Recuerdos y fantasias
(Remembrances and fantasies, 1844),
La
azucena silvestre
(The wild flower, 1845) and
Granada
(1852).
Zumalacárregui y de Imaz, Tomás
de
(1788-1835)
Spanish soldier
A Basque officer who joined the resistance
to Napoléon's invasion, Zumalacárregui
fought with great bravery and skill from
1808 to 1814, displaying particular cunning
and ruthlessness in the irregular warfare
known as the “guerrilla.” After the restora-
tion of F
ERDINAND
VII, Zumalacárregui was
one of those officers who supported the
absolutist policy of the monarch, in contrast
to many who had absorbed liberal princi-
ples. He clung to his conservative attitude
during the 1820-23 military-backed liberal
regime and adhered to the “traditionalist”
party that formed around Don Carlos, the
king's brother during the final decade of
Ferdinand's reign. Zumalacárregui repudi-
ated his late sovereign's wish that his
daughter should succeed him as I
SABELLA
II.
In 1834 he became commanding general of
the Carlist forces. During the civil war that
raged over the next four years, the adher-
ents of the conservative pretender to the
throne fought with great determination
against that part of the army loyal to the
young queen and the British and French
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