1. By 1845 Romantic drama was all but dead; the clumsy imitators of that time possessed no fine qualities with which to compensate for the exaggerations of the school. The satiated public was quite ready to listen to jests at their expense, and the witty prose of Mesonero Romanos, the comedies of Bretón, did not miss the mark. There ensued a transition period of some ten years, the beginning marked by Avellaneda’s Alfonso Munio (1844), and the end by La Ricahembra (1854) of Tamayo y Baus and Aureliano Fernández-Guerra. In this period, besides Bretón and Rubí, already mentioned, stand Florentino Sanz, Palou, Camprodón, and particularly Eguílaz and Ayala, who were destined to give a definitive form to modern Spanish drama.