[884] Baena, Hijos de Madrid, Tom. II. p. 389. His entire name was Hortensio Felix Paravicino y Arteaga. Why the whole of it was not given with his poems, which were not printed till after his death, it is not easy to tell. There are editions of them in 1641, 1645, and 1650; the last, Alcalá, 12mo.

[885] Ambrosio de la Roca y Serna was a Valencian, and died in 1649. (Ximeno, Tom. I. p. 359, and Fuster, Tom. I. p. 249.) He seems to have been valued little, except as a religious poet, but he was valued long. I have a copy of his “Luz del Alma,” without year or place, but printed as late as 1725, 12mo.

[886] “El Perfeto Señor, Poesías Varias,” etc., Madrid, 1652, 4to. He wrote silvas darker than Góngora’s “Soledades.” His madrigals and shorter poems are more intelligible, though none are good. He was a Portuguese by birth, but lived in Madrid, where he died after 1656. (Barbosa, Tom. I. p. 310.) There are two editions of his works.

[887] Baena, Tom. I. p. 93. The works of Pantaleon are obvious imitations of Góngora, as may be seen in his “Fábula de Prosérpina,” “Fábula de Alfeo y Aretusa,” etc., though perhaps still more in his sonnets and décimas. They were first printed in 1634, but appeared several times afterwards, with slight additions. My copy is of Madrid, 1648, 18mo.

[888] Violante del Cielo (do Ceo, in Portuguese) died in 1693, ninety-two years old, having written and published many volumes of Portuguese poetry and prose, some of the contents of which are too gallant to be very nun-like. Her “Rimas,” chiefly Spanish, were printed in Ruan, 1646, 12mo. One of the few poems among them that can be read is an ode on the death of Lope de Vega (p. 44); though it should be added, that some of her short religious poems, scattered elsewhere in her works, are better.

[889] Melo, who died in 1666, was one of the most successful Portuguese authors of his time. (Barbosa, Tom. II. p. 182.) His “Tres Musas del Melodino,” a volume containing his Spanish poetry, and consisting, in a great measure, of sonnets, ballads, odes, and other short lyrics, much in the manner of Quevedo, as well as of Góngora, was printed twice, in 1649 and 1665,—the former, Lisboa, 4to.

[890] Moncayo is also known by his title of Marques de San Felices. His poems are entitled “Rimas de Don Juan de Moncayo í Gurrea,” (Çaragoça, 1652, 4to), and consist of sonnets, a “Fábula de Venus í Adonis,” ballads, etc. Latassa, Bib. Nueva, Tom. III. p. 320.

[891] “Entretenimiento de las Musas en esta Baraxa Nueva de Versos, dividida en Quatro Manjares, etc., por Fenix de la Torre,” Çaragoça, 1654, 4to. The title speaks for itself. His proper name was Francisco, and he was a Murcian.

[892] “Ydeas de Apolo y Dignas Tareas del Ocio Cortesano,” Madrid, 1661, 4to; abounding in sonnets, religious ballads, and courtly lyrics. A few of its poems are narrative, like one in the ballad form on the story of Danae, and another at the end in ottava rima, on the finding of the Virgin of Balvanera.

[893] “Noche de Invierno; Conversacion sin Naypes,” Madrid, 1662, 4to. The second part of this volume consists of burlesque poems, full of miserable puns and rudenesses.

[894] “Obras de Don Luis de Ulloa, Prosas y Versos,” of which the second edition was published by his son, at Madrid, 1674, 4to. Some of the religious poems, in the old measures, are among the best of the volume; but the very best is the “Raquel,” in about eighty octave stanzas, on the story of the love of Alfonso VIII. for the fair Jewess of Toledo.

[895] “Cythara de Apolo,”—published after its author’s death by Vera Tassis y Villarroel, “his greatest friend”;—the same person who collected and published the plays of Calderon. Among his works is a Soledad, in professed imitation of Góngora, and Fábulas or Stories of Venus and Adonis, and Orpheus and Eurydice, in the manner of Villamediana. Aug. de Salazar was born in 1642, and died in 1675.

[896] Of Quevedo and Calderon I have already spoken; and Montalvan, Zarate, Tirso de Molina, and most of the dramatists of note, might have been added. Cervantes, in his old age, heeded the new school little, but he complains of the obscure style of poetry in his “Ilustre Fregona,” 1613, giving a specimen of it, and alludes to it again in the second part of his Don Quixote, c. 16.

[897] Lope de Vega, Obras Sueltas, Tom. I. pp. 271, 342; Tom. XII. pp. 231-234; Tom. XIX. p. 49; and Tom. IV. pp. 459-482. In the last cited passage, Lope says he always placed Fernando de Herrera as a model before himself.

[898] National Library, Madrid, Estante M, Codex 132, 4to. At least, it was there in 1818, at which date I saw it.

[899] Tablas Poéticas, ed. 1779, p. 103. One of Góngora’s friends, Mardones, answered Cascales, (Cartas Philológicas, 1771, Dec. I. Cartas 8 and 10), who rejoined, and is again answered in Carta 9.

[900] I have never seen this book, but Antonio, in his article on Jauregui, gives its title, and Flögel (Gesch. der Komischen Literatur, Tom. II. p. 303) gives the date of its publication. Jauregui, however, in his translation of the “Pharsalia” of Lucan, falls into the false style of Góngora. Declamacion contra los Abusos de la Lengua Castellana, 1793, p. 138.

[901] Tragedia Antigua, Madrid, 1633, 4to, pp. 84, 85.

[902] See Appendix (G).

[903] We know nothing of Medrano, except his poems, printed at Palermo, in 1617, at the end of an imitation, rather than a translation, of Ovid by Venegas. But Pedro Venegas de Saavedra was a Sevilian gentleman, and Antonio (Bib. Nov., Tom. II. p. 246) hints that the imprint of the volume may not show the true place of its publication.

[904] He is mentioned in Cervantes, “Canto de Calíope,” and there is a life of him in the notes to Sismondi, Spanish translation (Tom. I. p 274). His poems are found in the “Flores” of Espinosa, and in the eighteenth volume of Fernandez.

[905] Varflora, Hijos de Sevilla, No. III. p. 14; Sismondi’s Lit. Española por Figueroa, Tom. I. p. 282; Espinosa, Flores; and Fernandez, Coleccion, Tom. XVIII. pp. 88-124. It may, perhaps, be noted here, that the “Hijos de Sevilla Ilustres en Santidad, Letras, Armas, Artes ó Dignidad,” published in that city in 1791, in 8vo, is a poor book, but one that sometimes contains facts not elsewhere to be found, and one that is now become very rare, from the circumstance that it was published in separate numbers. On its title-page it is said to have been written by Don Firmin Arana de Varflora; but Blanco White, in “Doblado’s Letters,” 1822, p. 469, says its author was Padre Valderrama.

[906] “El Poeta Castellano, Antonio Balvas Barona, Natural de la Ciudad de Segovia,” Valladolid, 1627, 12mo.

[907] All needful notices of the two Argensolas and their works—and more too—can be found in the elaborate lives of them by Pellicer, in his “Biblioteca de Traductores,” 1778, pp. 1-141; and by Latassa, in the “Biblioteca Nueva de Escritores Aragoneses,” Tom. II. pp. 143, 461. Besides the original edition of their Rimas, (Zaragoza, 1634, 4to), two editions are found in Fernandez, “Coleccion,” the last being of 1804. The sonnet of Bartolomé on Sleep is commonly much admired; but of his poems I prefer the sonnet on Providence, (p. 330), and the ode in honor of the Church after the battle of Lepanto, ed. 1634, p. 372.

[908] It is a curious fact, and one somewhat characteristic of the carelessness with which works in Spain were attributed to persons who did not write them, that the “Orfeo” of Jauregui is printed in the “Cythara de Apolo,” a collection of the posthumous poems of Agustin de Salazar, (which appeared at Madrid, 1694, 4to), as if it were his. So far as I have compared the two, I find nothing altered but the first stanza, and the title of the poem, which, instead of being simply called “Orfeo,” as it was by its author, is entitled, in imitation of Góngora’s school, “Fábula de Euridice y Orfeo.”

[909] Sedano, Tom. IX. p. xxii. Lope de Vega, Obras Sueltas, Tom. I. p. 38. Signorelli, Storia de’ Teatri, 1813, Tom. VI. p. 13. Cervantes, Novelas, Prólogo. Orfeo de Juan de Jauregui, Madrid, 1624, 4to. Fernandez, Coleccion, Tom. VII. and VIII., containing the “Farsalia”; and Rimas de Juan de Jauregui, Sevilla, 1618, 4to, reprinted by Fernandez, Tom. VI. But the best text of the “Amynta” is that in Sedano, (Parnaso, Tom. I.), which is made by a collation of both the editions that were prepared by Jauregui himself. Of this beautiful version it may be noted that Cervantes (Don Quixote, Parte II. c. 62) says, as he does of the “Pastor Fido” by Figueroa, “We happily doubt which is the translation and which the original.” The “Farsalia” of Jauregui was not printed till 1684.

Jauregui’s silva on seeing his mistress bathing can be compared, much to its advantage and honor, with a longer silva on the same subject, entitled “Anaxarete,” and published at the end of his “Gigantomachia,” by Manuel de Gallegos, Lisboa, 1628, 4to, ten years after the appearance of Jauregui’s poem. The “Anaxarete” is not without graceful passages, but it is much too long, and shows frequent traces of the school of Góngora.

[910] This allusion occurs in a satire on the culto style of poetry, not found in his collected works, but in Sedano, (Tom. IX., 1778, p. 8), where it appeared for the first time.

[911] An excellent life of Villegas is prefixed to the edition of his Works, Madrid, 1774, 2 tom. 8vo, said by Guarinos (Biblioteca de Escritores del Reinado de Carlos III., Madrid, 1785, 8vo, Tom. V. p. 19) to have been written by Vicente de los Rios.

[912] In the edition of his poetry published by himself and at his own expense, in 1617, 4to, at Naxera, his birthplace, he gives on the title-page a print of the rising sun, with the stars growing dim, and two mottoes to explain its meaning: the first, “Sicut sol matutinus,” and the other, “Me surgente, quid istæ?“—the istæ whom he thus slights being Lope de Vega, Quevedo, and indeed the whole galaxy of the best period of Spanish literature. Lope seems to have been a little annoyed at this impertinence and vanity of Villegas; for, in allusion to it, he says, in the midst of a passage otherwise laudatory,—

Laurel de Apolo, Madrid, 1630, 4to, Silva iii.

For the harsh words of Villegas about Cervantes, see Navarrete, Vida, § 128.

[913]

Ed. 1617, f. 88.

[914] There is an interesting notice of Villegas and his works by the kindred spirit of Wieland, in the Deutsche Merkur, 1774, Tom. V. pp. 237, etc.; the first time, I suspect, that his name had been mentioned with the praise it deserves, out of Spain, for a century. It should be remembered, however, that Villegas, though he generally wrote with very great simplicity, and, in his Elegy to Bartolomé de Argensola (Eróticas, 1617, Tom. II. f. 28) and elsewhere, censures the obscure and affected writers of his time, yet sometimes himself writes in the bad style he condemns, and devotes his sixth Elegy to praise of the absurd “Phaeton” of the Count Villamediana.

[915] In the Academy’s edition of the “Siglo de Oro,” Madrid, 1821, 8vo, there is other poetry besides that contained in the pastoral itself.

[916] Poems are found in all the stories of Salas Barbadillo, which would, perhaps, double the amount published by himself in his “Rimas Castellanas,” Madrid, 1618, 12mo, and by his friends after his death, in the “Coronas del Parnaso,” Madrid, 1635, 12mo. The volume of Rimas is more than half made up of sonnets and epigrams.

[917] “Obras de Salvador Jacinto Polo,” Zaragoça, 1670, 4to. His “Apollo and Daphne” is partly in ridicule of the culto style.

[918] “Desengaño del Amor en Rimas por Pedro Soto de Rojas,” Madrid, 1623, 4to. He was of Granada, and, as his sonnets show, a great admirer of Góngora.

[919] The poetry of Rioja was not published till near the end of the eighteenth century, when it appeared in the collections of Sedano and Fernandez in 1774 and 1797. The two odes of Rioja and Caro are printed together in the Spanish translation of Sismondi’s “History of Spanish Literature,” Sevilla, 1842, in the notes to which is the best account to be found of Rioja. (Tom. II. p. 173.) Rioja, it may be added, was a friend of Lope de Vega, who addressed to him a pleasant poetical epistle on his own garden, which was first printed in 1622.

[920]

Obras en Verso de Borja, Amberes, 1663, 4to, p. 395.

[921] The life of Borja is in Baena, Tom. II. p. 175; and his opinions on poetry, defending the older and simpler school, are set forth in some décimas prefixed to his “Obras en Verso,” of which there are editions of 1639, 1654, and 1663. Of his lyrical ballads, I would notice particularly, in the edition of Amberes, 1663, 4to, Nos. 40, 66, and 129. The trifle translated in the text is No. 20 among the poems which he calls Bueltas, a sort of refrain, with a gloss, where much poetical ingenuity is shown, in the turn both of the thought and of the phraseology.

[922] “El Fenix Castellano de Ant. de Mendoza,” Lisboa, 1690, 4to; “Obras Poéticas de Gerónimo Cancer y Velasco,” 1650, and Madrid, 1761, 4to; with Latassa, Bib. Nueva, Tom. III. p. 224; “El Enano de las Musas de Alvaro Cubillo de Aragon,” Madrid, 1654, 4to, who was, however, of Granada; and “Obras Varias de Fr. Lopez de Zarate,” Alcalá, 1651, 4to, which, after a great deal of worthless poetry, both in Spanish and Italian measures, contains, at the end, his equally worthless tragedy, “Hercules Furens y Œta, con todo el rigor del Arte.”

[923] Obras, Madrid, 1778, 8vo, Tom. I. p. 571.

[924] There is a notice of Rebolledo, which must have been prepared by his own authority, in the Preface to his “Ocios,” printed at Antwerp, 1650, 18mo; but there is a better life of him in the fifth volume of Sedano’s “Parnaso”; and his poetry, and every thing relating to him, is found in his Works printed at Madrid, 1778, 3 tom. 8vo, the first volume being in two parts. Some of his poetry falls into Gongoresque affectations. He wrote a single play, “Amar despreciando Riesgos,” which he called a tragicomedy, and which is not without merit.

[925] Ant. Luiz Ribero de Barros, “Jornada de Madrid,” Madrid, 1672, 4to; a poor miscellany of prose and verse, whose author died in 1683. (Barbosa, Bib., Tom. I. p. 313.)—Pedro Quiros, 1670, best found in Sismondi, Lit. Esp., Sevilla, 1842, Tom. II. p. 187, note; and Varflora, No. IV. p. 68.—Miguel de Barrios, “Flor de Apolo,” Bruselas, 1665, 4to, and “Coro de las Musas,” Bruselas, 1672, 18mo.—“Ociosidad Ocupada y Ocupacion Ociosa de Felix de Lucio y Espinossa,” Roma, 1674, 4to; a hundred bad sonnets. (Latassa, Bib. Nov., Tom. IV. p. 22.)—Jacinto de Evia, “Ramillete de Flores Poéticas,” Madrid, 1676, 4to, which contains other poems besides his own.—Inez de la Cruz, la Décima Musa, “Poemas,” Zaragoza, 1682-1725, 3 tom. 4to, etc.—Ant. de Solís, “Poesías,” Madrid, 1692, 4to.—Candamo, “Obras Líricas,” s. a. 18mo.—Joseph Perez de Montoro, “Obras Póstumas Lyricas, Humanas y Sagradas,” Madrid, 1736, 2 tom. 4to; not printed, I think, till that year, though their author died in 1694.—Manuel de Leon Marcante, “Obras Póstumas,” Madrid, 1733, 2 tom. 4to; where some of the villancicos, by their rudeness, not their poetry, recall Juan de la Enzina.—And, Joseph Tafalla Negrete, “Ramillete Poético,” Zaragoça, 1706, 4to; to which last add Latassa, Bib. Nueva, Tom. IV. p. 104.—Perhaps a volume printed in Valencia, 1680, 4to, and entitled “Varias Hermosas Flores del Parnaso,” will, especially if compared with the similar work of Espinosa printed in 1605, give the fairest idea of the low state of poetry at the time it appeared. It contains poems by Ant. Hurtado de Mendoza, by Solís, and by the following poets, otherwise unknown to me: namely, Francisco de la Torre y Sebil, Rodrigo Artes y Muñoz, Martin, Juan Barcelo, and Juan Bautista Aguilar;—all worthless. Of the persons mentioned in this note, the one that produced the greatest sensation, after Solís, was Inez de la Cruz,—a remarkable woman, but not a remarkable poet, who was born in Guipuzcoa in 1651, and died in the city of Mexico in 1695. Semanario Pintoresco, 1845, p. 12.

[926] I possess, I believe, works of more than one hundred and twenty lyric poets of this period.