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This article looks at the relationship between Nicasio Álvarez de Cienfuegos and the Spanish Royal Academy. Cienfuegos was inducted in 1799 and remained more or less active until 1805. He had an abiding interest in linguistic questions, and his membership in the Academy give him a chance to work on both grammatical and lexicographic issues. Few of the studies ever reached the light of day, however. Here, both the published works and the unpublished manuscripts that are held in the Library and the Archive of the Spanish Royal Academy are described in detail.

This article studies cienfuegos’ tragedies (Idomeneo, Zoraida, La condesa de Castilla, Pítaco) as the dramatic continuation of certain poetic and spiritual anxieties that the poet underwent during the period he spent in Salamanca. themes that appeared earlier in his poems now reappear in the tragedies (written while he lived in Madrid) and are placed in the mouths of characters who express on stage their deepest longings and concerns: the humanitarian impulse, faith in equality and fraternity, life in harmony with nature. this reflects a sensibility clearly in synch with enlightenment thought, and should not be associated with Romanticism.Se estudian las tragedias de cienfuegos (Idomeneo, Zoraida, La condesa de Castilla, Pítaco) como la prolongación dramática de las inquietudes poéticas y espirituales que el poeta había experimentado durante su etapa salmantina. en las tragedias, escritas ya en Madrid, reaparecen los temas propios de la poesía, transferidos a personajes que expresan en escena sus motivos vitales más profundos: el impulso humanitario, la fe en la igualdad y la fraternidad, la vida en armonía con la naturaleza. todo ello refleja una sensibilidad plenamente concorde con el iluminismo, y que no debe identificarse con el Romanticismo.

Manuel eduardo de Gorostiza, in London after the constitutional triennium, signed four articles about Spanish theatre in The New Monthly Magazine using just the letter «G». At the end of that same year, 1824, an author signing with an «M», in all likelihood Prosper Mérimée, published a set of articles in Le Globe in Paris regarding the same topic. these were literal translations of those written by Gorostiza about cienfuegos, but his authorship is not mentioned.Manuel eduardo de Gorostiza, en Londres después del trienio constitucional, firmó «G» cuatro artículos sobre teatro español moderno en The New Monthly Magazine. Al final del mismo año de 1824, un tal «M», con toda probabilidad el joven Próspero Mérimée, publicó en el periódico Le Globe, de París, otros tantos sobre el propio tema, traduciendo literalmente en particular, sin mención de fuente, lo escrito por Gorostiza sobre cienfuegos.

This article proposes a reading of Cienfuegos’ lyric poetry based on the existence of two levels of discourse, public and private, similar to the ones that can be differentiated in his plays and that the author cultivates with different purposes in mind. it is observed that cienfuegos wrote his poetry from a personal distance which nonetheless reflects his own life experience.