Of the younger poetic generation, PEDRO MANUEL DE URREA (1486-? 1530) is the most striking artist. His _Peregrinación á Jersualén_ and his _Penitencia de Amor_ are practically inaccessible, but his _Cancionero_ displays an ingenious and versatile talent. Urrea's aristocratic spirit revolts at the thought that in this age of printing his songs will be read "in cellars and kitchens," and the publication of his verses seems due to his mother. His _Fiestas de Amor_, translated from Petrarch, are tedious, but he has a perfect mastery of the popular _décima_, and his _villancicos_ abound in quips of fancy matched by subtleties of expression. Urrea fails when he closes a stanza with a Latin tag—a dubious adonic, such as _Dominus tecum_. He fares better with his modification of Jorge Manrique's stanza, approving his skill in modulatory effects. His most curious essay is his verse rendering of the _Celestina's_ first act; for here he anticipates the very modes of Lope de Vega and of Tirso de Molina. But in his own day he was not the sole practitioner in dramatic verse. A distinct progress in this direction is made by RODRIGO COTA DE MAGUAQUE (fl. 1490), a convert Jew, who incited the mob to massacre his brethren. Wrongly reputed the author of the _Coplas del Provincial_, of _Mingo Revulgo_, and of the _Celestina_, Cota is the parent of fifty-eight quatrains, in the form of a burlesque wedding-song, recently discovered by M. Foulché-Delbosc. But Cota's place in literature is ensured by his celebrated _Diálogo entre el Amor y un Viejo_. In seventy stanzas Love and the Ancient argue the merits of love, till the latter yields to the persuasion of the god, who then derides the hoary amorist. The dialogue is eminently dramatic both in form and spirit, the action convincing, clear, and rapid, while the versification is marked by an exquisite melody. It is not known that the _Diálogo_ was ever played, yet it is singularly fitted for scenic presentation.