However that may be, there can exist no possible connection between English Euphuism and Spanish Gongorism, save such as comes from a common Italian origin. Gongorism derives directly from the Marinism propagated in Spain by Carrillo, though it must be confessed that Marino's extravagances pale beside those of Góngora. This, in fact, is no more than we should expect, for Marino's conceits were, so to say, almost natural to him, while Góngora's are a pure effect of affectation. He wilfully got rid of his natural directness, and gave himself to cultivating artificial antithesis, violent inversions of words and phrases, exaggerated metaphors piled upon sense tropes devoid of meaning. Other poets appealed to the vulgar: he would charm the cultivated—_los cultos_. Hence the name _culteranismo_.[26] At the same time it is fair to say that he has been blamed for more crimes than he ever committed. Ticknor, more than most critics, loses his head whenever he mentions Góngora's name, and holds the Spaniard up to ridicule by printing a literal translation of his more daring flights. Thus he chooses a passage from the first of the _Soledades_, and asserts that Góngora sings the praise of "a maiden so beautiful, that she might parch up Norway with her two suns, and bleach Ethiopia with her two hands." Perhaps no poet that ever lived would survive the test of such bald, literal rendering as this, and a much more exact notion of the Spanish is afforded by Churton:— "_Her twin-born sun-bright eyes Might turn to summer Norway's wintry skies; And the white wonder of her snowy hand Blanch with surprise the sons of Ethiopian land._" Another sonnet on Luis de Bavia's _Historia Pontifical_ is presented in this fashion:—"This poem which Bavia has now offered to the world, if not tied up in numbers, yet is filed down into a good arrangement, and licked into shape by learning; is a cultivated history, whose grey-headed style, though not metrical, is combed out, and robs three pilots of the sacred bark from time, and rescues them from oblivion. But the pen that thus immortalises the heavenly turnkeys on the bronzes of its history is not a pen, but the key of ages. It opens to their names, not the gates of failing memory, which stamps shadows on masses of foam, but those of immortality." This, again, is translation of a kind—of a kind very current among fourth-form boys, and, perpetrated by such an excellent scholar as Ticknor, is to be accepted as intentional caricature of the original. Once more the loyal Churton shall elucidate his author:— "_This offering to the world by Bavia brought Is poesy, by numbers unconfined; Such order guides the master's march of mind, Such skill refines the rich-drawn ore of thought. The style, the matter, gray experience taught, Art's rules adorn'd what metre might not bind: The tale hath baffled time, that thief unkind, And from Oblivion's bonds with toil hath brought_