Montemôr closes with the promise of a sequel, which never appeared. But, as his popularity continued, publishers printed new editions, containing the story of Abindarraez and Jarifa, boldly annexed from Villegas' _Inventario_, which was licensed so early as 1551. The tempting opportunity was seized by Alonso Pérez, a Salamancan doctor, whose second _Diana_ (1564) is extremely dull, despite the singular boast of its author that it contains scarcely anything "not stolen or imitated from the best Latins and Italians." Pérez alleges that he was a friend of Montemôr's; but, as that was his sole qualification, his third _Diana_—written, though "not added here, to avoid making too large a volume"—has fortunately vanished. In this same year, 1564, appeared Gaspar Gil Polo's _Diana_, a continuation which, says Cervantes, should be guarded "as though it were Apollo's"—the praise has perplexed readers who missed the pun on the author's name. The merits of Polo's sequel, excellent in matter and form, were recognised, as Professor Rennert notes, by Jerónimo de Texeda, whose _Diana_ (1627) is a plagiary from Polo. Though the contents of the one and the other are almost identical, Ticknor, considering them as independent works, finds praise for the earlier book, and blame for the later. An odd, mad freak is the versified _Diez libros de Fortuna de Amor_ (1573), wherein Frexano and Floricio woo Fortuna and Augustina in Arcadian fashion. Its author, the Sardinian soldier, Antonio Lo Frasso, shares with Avellaneda the distinction of having drawn Cervantes' fire—his one title to fame. Artificiality reaches its full height in the _Pastor de Fílida_ (1582) of Luis Gálvez de Montalvo, who presents himself, Silvestre, and Cervantes as the (Dresden) shepherds Siralvo, Silvano, and Tirsi. Almost every Spanish man of letters attempted a pastoral, but it were idle to compile a catalogue of works by authors whose echoes of Montemôr are merely mechanical. The occasion of much ornate prose, the pastoral lived partly because there was naught to set against it, partly because born men of action found pleasure in literary idealism and in "old Saturn's reign of sugar-candy." Its unreality doomed it to death when Alemán and others took to working the realistic vein first struck in _Lazarillo de Tormes_. Meanwhile the spectacle of love-lorn shepherds contending in song scandalised the orthodox, and the monk Bartolomé Ponce produced his devout parody, the _Clara Diana á lo divino_ (1599) in the same edifying spirit that moved Sebastián de Córdoba (1577) to travesty Boscán's and Garcilaso's works—_á lo divino, trasladadas en materias cristianas_.