ABSTRACT
Inspired by seven years working alongside Ivy McClelland in Glasgow, I have ventured to publish some trifling articles on pre-Romantic drama in Spain 1 (1986, 1988, 1991, 1993, 1997) with the object of adding a few pebbles to the massive cairn erected by Ivy in her definitive Spanish Drama of Pathos. 2 I now embrace with nostalgic pleasure the opportunity of contributing a further item to this well-deserved commemorative number of the Bulletin of Spanish Studies. Having glanced successively at García de la Huerta and Montiano as tragic playwrights, before passing on to the early theatre of Rivas, I should now like to revisit Quintana’s Pelayo (1805) which Ivy plainly regarded as the most accomplished tragic drama in the Spain of its day and to examine its technique in more detail than she had space for. 3
