_Song of Songs_ and a corresponding commentary; the existence of both has a personal interest inasmuch as they prove that Luis de Leon was enabled to carry out a long cherished design by means of which he hoped, as he declared at Valladolid, to counterbalance the indiscreet prying of Fray Diego de Leon. _La Perfecta Casada_ (1583) and _De los nombres de Cristo_ (1583-1585) likewise have their roots in Scripture. _La Perfecta Casada_ is avowedly based on the thirty-first chapter of _Proverbs_, and _De los nombres de Cristo_, the first part of which appeared simultaneously with _La Perfecta Casada_,[264] discusses the various symbolic names applied to the Saviour in the Bible. _La Perfecta Casada_ is dedicated to Maria Varela Osorio, a recently wedded bride, who may have been a distant kinswoman of the author's.[265] Nowhere more clearly than in this treatise does Luis de Leon justify the statement that he had a Hebrew soul. He takes for granted the Oriental point of view, and illustrates his imperious thesis with ample quotations from writers of all types--pagans, Christians, saints, and laymen. There are references to Simonides, to Sophocles, to Euripides, to Plutarch, to Saint Clement of Alexandria, to Saint Cyprian, to Saint Ambrose, to Garcilasso de la Vega. It seems likely that _La Perfecta Casada_ was written after _De los nombres de Cristo_, which was almost certainly begun in prison. But there is perhaps nothing in the internal evidence of the style which would point to that conclusion. The style of _La Perfecta Casada_ is vigorous and clear; but it is marred by gusts of rhetoric and by an excess of copulative conjunctions. These peculiarities produce the effect of relative inexperience, and might easily mislead a too confident critic.