One other name we will mention, since it is connected with the Spanish theatre; and dramatic writing became in progress of time the most truly national as well as original and perfect form in which the genius of Spanish poetry embodied itself. Juan de Enzina wrote the first Spanish plays. It is true that Villena wrote an allegorical drama, which is lost, and other compositions took the form of dialogue; but Enzina, who was a musical composer, converted mere pastoral eclogues into real dramas. He was born at Salamanca, in the reign of Isabella. He travelled to Jerusalem, in company with the marquis de Tarifa, and he lived some time at Rome, as maestro da capella, or director of music, to pope Leo X. These travels and residences at a distance from his native country, must have stored his mind with ideas; but though Italy had reached the zenith of her poetic glory at that time, he became no pupil of hers. Perhaps he found Spanish metres, and the Spanish poetic diction did not lend itself to any but the Spanish style; and he never dreamt, as Boscan afterwards so admirably succeeded in doing, of enlarging the sphere of Spanish poetry by introducing Italian modes of rhythm: his songs and lyrics are in the style of the cancioneros; and the very quips and cranks in which he indulged have the rough humour and extravagant imagination of Castile, not the pointed wit or airy lightness of Italy. Among other things, he published a song of contraries, or absurdities, (_disparates_,) which has made his name proverbial in Spain. He converted Virgil's eclogues into ballads, and applied to the sovereigns and nobles of Spain the compliments Virgil addressed to the emperor Augustus. His sacred and profane eclogues were acted at court at Christmas-eve and carnival: these are lost. Some of his songs, calculated to become popular from their spirit, and the tone they seized, which was suited to the hour, remain. There is one translated by Dr. Bowring, which is a Farewell to the Carnival (Antruejo), which, in the Spanish at least, has all the zest and animation of a drinking song:-- "Come let us eat and drink to-day. And sing, and laugh, and banish sorrow, For we must part to-morrow. In Antruejo's honour--fill The laughing cup with wine and glee, And feast and dance with eager will, And crowd the hours with revelry, For that is wisdom's counsel still-- To day be gay, and banish sorrow, For we must part to-morrow. Honour the saint--the morning ray Will introduce the monster death; There's breathing space for joy to-day, To-morrow ye shall gasp for breath; So now be frolicsome and gay, And tread joy's round and banish sorrow, For we must part to-morrow."[10]