An early sectary of the school is discovered in the person of the Portuguese poet, FRANCISCO DE SÂ DE MIRANDA (1495-1558), who so frequently forsakes his native tongue that of 189 pieces included in Mme. Carolina Michaëlis de Vasconcellos' edition, seventy-four are in Castilian. Sâ de Miranda's early poems written before 1532—the _Fábula de Mondego_, the _Canção á Virgem_, and the eclogue entitled _Aleixo_—are in the old manner. His later works, such as _Nemoroso_, with innumerable sonnets and the three elegies composed between 1552 and 1555, are all undisguised imitations of Boscán and Garcilaso, for whom the writer professes a rapturous enthusiasm. Sâ de Miranda ranks among the six most celebrated Portuguese poets; and, stranger though he be, even in Castilian literature he distinguishes himself by his correctness of form, by his sincerity of sentiment, and by a genuine love of natural beauty very far removed from the falsetto admiration too current among his contemporaries. The soldier, GUTIERRE DE CETINA (1520-60) is another partisan of the Italian school. Serving in Italy, he pursued his studies to the best advantage, and won friendship and aid from literary magnates like the Prince of Ascoli, and Diego Hurtado de Mendoza; but soldiering was little to his taste, and, after a campaign in Germany, Cetina retired to his native Seville, whence he passed to Mexico about the year 1550. He is known to have written in the dramatic form, but no specimen of his drama survives, unless it be sepultured in some obscure Central American library. Cetina is a copious sonneteer who manages his rhyme-sequences with more variety than his predecessors, and his songs and madrigals are excellent specimens of finished workmanship. His general theme is Arcadian love—the beauty of Amaríllida, the piteous passion of the shepherd Silvio, the grief of the nymph Flora for Menalca. His treatment is always ingenious, his frugality in the matter of adjectives is edifying, though it scandalised the exuberant Herrera, who, as a true Andalucían, esteems emphasis and epithet and metaphor as the three things needful. Cetina's sobriety is paid for by a certain preciosity of utterance near akin to weakness; but he excels in the sonnet form, which he handles with a mastery superior to Garcilaso's own, and he adds a touch of humour uncommon in the mannered school that he adorns.