Jorge de Montemayor is another Portuguese poet, whose name belongs rather to Spain than Portugal. His real appellation is unknown. He adopted that of the place of his birth, Montemor, a town in the jurisdiction of Coimbra in Portugal, which he in a manner translated into Spanish, and called himself Jorge or George de Montemayor. He was born about the year 1520, of humble origin, and slight education. In his youth he entered the military profession. His talent for music first brought him into notice: he emigrated into Castile, and endeavoured to gain his livelihood by music: he succeeded in being incorporated in the band of the Royal Chapel; and when the Infante don Philip, afterwards Philip II., made his celebrated progress through Germany, Italy, and the Low Countries, having in his suite a band of choice musicians and singers, Montemayor made one among them. These travels tended to enlarge his mind; and, although unacquainted with the learned languages, he became a proficient in various foreign ones, and joined to these accomplishments a taste for literature. His love for music was allied closely to a talent for poetry; and when on his return to Spain, he resided at the city of Leon, he established his fame as an author, by writing his "Diana." The fame of this book spread far and wide: it was imitated by almost every poet that wrote in those days, and the style in which it was composed became the fashion throughout Spain. The "Diana" is a pastoral of such an ideal species, that it sets chronology and history at defiance. Of these, our Shakspeare made light, when he wrote "Cymbeline" and the "Winter's Tale;" but the "Diana" is even more confused in its costume. The scene of it is placed at the foot of the mountains of Leon; and the heroine is said to be the object of a real attachment of the author. This lady in other poems is called Marfisa: he is said to have loved her before he left Spain with the court: on his return he found her married; and his grief and her infidelity he personified in the Sireno and Diana of his pastoral. Thus many modern events are spoken of; and the adventures of Abindarres and Xarifa, contemporaries of king Ferdinand, are mentioned as of old date, at the same time that Apollo and Diana, nymphs and fauns, are the objects of adoration among the shepherds; for, indeed, in those days the gods of the Greeks made as it were an integral portion of poetry, and it would have been considered a solecism to have omitted the names and worship of these deities. The story is conceived in the same heterogeneous manner. There is infinite simplicity in all the part that strictly appertains to Diana and her lover; and much of what is romantic and even supernatural in the other portions.