In Spain, as elsewhere, the secular battle waged between classicism and romanticism. As poets sided with Boscán and Garcilaso, or with Castillejo, so dramatists declared for the _uso antiguo_ or for the _uso nuevo_. The partisans of the "old usage" put their trust in prose translations. We have already seen that the roguish Villalobos translated the _Amphitruo_ of Plautus, and Pérez de Oliva not only repeated the performance, but gave a version of Euripides' _Hecuba_. Encina's successor was found in the person of Miguel de Carvajal, whose _Josefina_ deals, in classic fashion, with the tale of Joseph and his brethren. Carvajal draws character with skill, and his dialogue lives; but he is best remembered for his division of the play into four acts. Editions of Vasco Díaz Tanco de Fregenal are of such extreme rarity as to be practically inaccessible. So are the _Vidriana_ of Jaime de Huete and the _Jacinta_ of Agustín Ortiz—two writers who are counted as followers of Torres Naharro. A farce by the brilliant reactionary, Cristóbal de Castillejo, entitled _Costanza_, is only known in extract, and is as remarkable for ribaldry as for good workmanship. The _Preteo y Tibaldo_ of Pero Álvarez de Ayllón and the _Silviana_ of Luis Hurtado are insipid pastorals. Many contemporary plays, known only by rumour, have disappeared—suppressed, no doubt, because of their coarseness. Torres Naharro's _Propaladia_ was interdicted in 1540, and, eight years later, the Cortes of Valladolid petitioned that a stop be put to the printing of immoral comedies. The prayer was heard. Scarce a play of any sort survives, and the few that reach us exist in copies that are almost unique. The time for the stage was not yet. It is possible that, had Carlos Quinto resided habitually in some Spanish capital, a national theatre might have grown up; but the lack of Court patronage and the classical superstition delayed the evolution of the Spanish drama. This comes into being during the reign of Felipe _el Prudente_.