easy verse.[273] The third book, which contains moral works, (_obras morales_,) is most prolix of all. The satires contained in this third book have certainly a moral tendency, though that object is in a great measure defeated by Castillejo’s sportive style. The moral is lost in a torrent of words, while the serious thoughts of which the verse is the vehicle, are for the most part trivial.[274] Notwithstanding the moral design of this third book, the Spanish inquisition was for some time undecided with respect to its fate. The publication of all the poems of Castillejo was prohibited; but after some further deliberation the inquisition permitted the sale of an edition, after it had undergone a rigid revisal by the censor. HISTORY OF SPANISH DRAMATIC POETRY, DURING THE FIRST HALF AND TEN SUCCEEDING YEARS OF THE SIXTEENTH CENTURY. In the reign of Charles V. amidst a throng of diversified talent, and during the conflict between the old and new poetic styles, the Spanish drama began to flourish. Considered in a literary point of view, it can scarcely be said to have existed before that period; but it arose under happier auspices than those which about the same period accompanied the birth of the Italian drama, to which the struggle between the learned and the popular burlesque styles afforded less hope of success. The sacred and profane pastoral dialogues of Juan de la Enzina were, at the commencement of the sixteenth century, still the only dramatic compositions in the Spanish language, to which any degree of literary respect was attached, and they were, by especial favour, allowed to be performed at court.[275] With the exception of mysteries, spiritual moralities, and burlesque representations of religious ceremonies, the Spanish nation, at this time, knew nothing of dramatic entertainments. No poet of reputation had hitherto devoted his attention to this species of composition; but the nation evinced by its attachment to those rude exhibitions, that tenacity which is a great feature in its character, and which even in matters of taste permits no reform to take place which does not perfectly accord with the inclination of the public. This constancy of the national character must never for a moment be lost sight of, while tracing the history of the Spanish drama; but even with this peculiar circumstance carefully kept in view, it is still impossible to give a very satisfactory account of the early progress of dramatic poetry among the Spaniards; for the notices which must be resorted to for that purpose, are both defective and confused.[276]