853;
_Pasquil's Fooles cappe_, entered at Stationers' Hall in 1600; _Pasquil's
Mistresse_ (1600); _Pasquil's Passe and Passeth Not_ (1600); _Melancholike
Humours_ (1600); _Marie Magdalen's Love: a Solemne Passion of the Soules
Love_ (1595), the first part of which, a prose treatise, is probably by
another hand; the second part, a poem in six-lined stanza, is certainly by
Breton; _A Divine Poem_, including "The Ravisht Soul" and "The Blessed
Weeper" (1601); _An Excellent Poem, upon the Longing of a Blessed Heart_
(1601); _The Soules Heavenly Exercise_ (1601); _The Soules Harmony_ (1602);
_Olde Madcappe newe Gaily mawfrey_ (1602); _The Mother's Blessing_ (1602);
_A True Description of Unthankfulnesse_ (1602); _The Passionate Shepheard_
(1604); _The Soules Immortall Crowne_ (1605); _The Honour of Valour_
(1605); _An Invective against Treason; I would and I would not_ (1614);
_Bryton's Bowre of Delights_ (1591), edited by Dr Grosart in 1893, an
unauthorized publication which contained some poems disclaimed by Breton;
_The Arbor of Amorous Devises_ (entered at Stationers' Hall, 1594), only in
part Breton's; and contributions to _England's Helicon_ and other
miscellanies of verse. Of his twenty-two prose tracts may be mentioned
_Wit's Trenchmour_ (1597), _The Wil of Wit_ (1599), _A Poste with a Packet
of Mad Letters_ (1603). _Sir Philip Sidney's Ourania by N.B._ (1606); _Mary
Magdalen's Lamentations_ (1604), and _The Passion of a Discontented Mind_
(1601), are sometimes, but erroneously, ascribed to Breton.

[1] This poem, however, comes from _The Arbor of Amorous Devises_, which
is only in part Breton's work.

BRETON DE LOS HERREROS, MANUEL (1796-1873), Spanish dramatist, was born at
Quel (Logrono) on the 19th of December 1796 and was educated at Madrid.
Enlisting on the 24th of May 1812, he served against the French in Valencia
and Catalonia, and retired with the rank of corporal on the 8th of March
1822. He obtained a minor post in the civil service under the liberal
government, and on his discharge determined to earn his living by writing
for the stage. His first piece, _A la vejez viruelas_, was produced on the
14th of October 1824, and proved the writer to be the legitimate successor
of the younger Moratin. His industry was astonishing: between October 1824
and November 1828, he composed thirty-nine plays, six of them original, the
rest being translations or recasts of classic masterpieces. In 1831 he
published a trans