"_When to the heavenly dome my thoughts take flight, With shimmering stars bedecked, ablaze with light, Then sink my eyes down to the ground, In slumber wrapped, oblivion bound, Enveloped in the gloom of darkest night._ _With love and pain assailed, with anxious care, A thousand troubles in my breast appear, My eyes turn to a flowing rill, Sore sorrow's tearful floods distil, While saddened, mournful words my woes declare._ _Oh, dwelling fit for angels! sacred fane! The hallowed shrine where youth and beauty reign! Why in this dungeon, plunged in night, The soul that's born for Heaven's delight Should cruel Fate withhold from its domain?_" In his _Profecía del Tajo_ (Prophecy of the Tagus) Luis de León displays a virility absent from his other pieces, and the impetuosity of the verse matches the speed which he attributes to the Saracenic invaders advancing to the overthrow of Roderic; and, if he still abide by his Horatian model, he introduces an individual treatment, a characteristic melody of his own invention. A famous devout song, _Á Cristo Crucifijado_ (To Christ Crucified), appears in all editions of Fray Luis; but as its authenticity is disputed—some ascribing it to Miguel Sánchez—its quotation must be foregone here. The ode _Al Apartamiento_ (To Retirement) exhibits the contemplative vein which distinguishes the singer, and, as in the _Ode to Salinas_, seems an early anticipation of Wordsworth's note of serene simplicity. Luis de León is not splendid in metrical resource, and his adherence to tradition, his indifference to his fame, his ecclesiastical estate, all tend to narrow his range of subject; yet, within the limits marked out for him, he is as great an artist and as rich a voice as Spain can show. In the same year (1631) that Quevedo issued Luis de León's verses, he also published an exceedingly small volume of poems which he ascribed to a Bachelor named FRANCISCO DE LA TORRE (1534-?1594). From this arose a strange case of mistaken identity. Quevedo's own account of the matter is simple: he alleges that he found the poems—"by good luck and for the greater glory of Spain"—in the shop of a bookseller, who sold them cheap. It appears that the Portuguese, Juan de Almeida, Senhor de Couto de Avintes, saw them soon after Torre's death, that he applied for leave to print them, and that the official licence was signed by the author of _La Araucana_, Ercilla y Zúñiga, who died in 1595. For some reason Almeida's purpose miscarried, and, when Quevedo found the manuscript in 1629, Torre was generally forgotten. Quevedo solved the difficulty out of hand in the high editorial manner, evolved the facts from his inner consciousness, and assured his readers that the author of the poems was the Francisco de la Torre who wrote the _Visión deleitable_.[11]