Alonzo de Ladesma, who died a few years before Gongora, obtained admirers for his poems, chiefly spiritual, which he wrote in the obscure phraseology of the _estilo culto_.[451] For example, in paraphrazing the mysteries of the catholic faith in lyric romances, he thus speaks of the birth of the Saviour:--“The star of the east rose at the time ordained by God, so that the enemy of day might lose the prey he had seized, and with it the hope of his false pretensions, as God assumed human flesh in order that man might enjoy him,” &c.[452] To men imbued with superstition, and denied all reasoning in matters of faith, ravings of this kind were well calculated to turn their heads, and involve them in a vortex of romantic mysticism. Felix de Arteaga was likewise a zealous cultivator of this distorted style, both in sacred and profane poetry. In 1618, he held the post of court chaplain at Madrid, and he lived until the year 1633. The chief portion of his songs, romances, and sonnets, are of the pastoral kind. He extols “the miracles of the fair Amarillis, that angel of the superior class, to whom truth and passion have given the name of Phœnix. She once espied before her door a peasant, who, though not worthy to adore her, was yet worthy to languish for her sake. This happened one evening, which was a morning, since Aurora smiled, and shewed white pearls between rows of glowing carmine. The angel was amused by burning those she had illumined, and this beautiful angel fell from the heaven of her ownself,” &c.[453] This author also wrote, after the manner of Lope de Vega, a comedy, called _Gridonia_, which he styles a royal invention, (_invencion real_), because potentates, princes, and princesses are brought together from the most distant parts of the earth, and introduced with vast scenic pomp.[454] Some of the adherents of this party, who were distinguished for natural genius and ability, will be hereafter noticed. We must not, however, neglect to mention that the _estilo culto_ likewise gained a footing in Spanish America; and that various works in that style by Alonzo de Castillo Solorzano, were very neatly printed at Mexico in the year 1625.[455] TWO DRAMATIC POETS OF THE AGE OF LOPE DE VEGA. Lope de Vega had now become the model of the Spanish dramatic poets, who soon appeared as numerous, and laboured as assiduously as if they had been bound to supply all the theatres in the universe with new pieces. But most of these dramatists, who may altogether be considered as forming one great school, were contemporary with Lope de Vega only during their younger years. The elegant Calderon, who was born in the year 1600, may also have influenced the exercise of their talents. In the history of the Spanish theatre, it will therefore be proper to range together those dramatists on whom it is probable the example of Calderon may have operated.[456] This, however, is the proper place for noticing two contemporaries of Lope de Vega.