though Espinel, as he states in his preface, consigned his romance to the correction of Lope de Vega, whom he styles the “divine genius,” after having himself revised the verses which Lope composed in his youth. The insipid jokes which occur in Marcos de Obregon, for example those in derision of the Portuguese and their language, must be considered as belonging to the natural local colouring of the work. Among the romances of knavery, (_del gusto picaresco_), the celebrated Don Guzman de Alfarache may claim a distinguished place next to Lazarillo de Tormes.[467] It was published in the year 1599, and consequently before Don Quixote appeared. Like Lazarillo de Tormes it was speedily translated into Italian and French, and was subsequently published in various other languages, not excepting the latin. Mattheo Aleman, the author of Guzman de Alfarache, who had withdrawn from the court of Philip III. and lived in retirement, was not induced by the success of his comic romance, to devote himself to a second production of the same class. The knowledge of the world which he had acquired at court, as well as in the sphere of common life, is doubtless abundantly unfolded in his Guzman de Alfarache. The manners of the lower classes of Spanish society, in particular, seem to be pourtrayed with admirable accuracy. In spite of the vulgarity of the subject, and the burlesque style in which it is treated, no ordinary share of judgment is perceptible throughout the whole of this comic novel; and in his humorous language the author has preserved a certain degree of natural elegance even in describing the lowest scenes. That the Spaniards were by no means sparing of approbation to works of this class, is obvious from the attention bestowed on the mannered continuation of Aleman’s romance, by a writer styling himself Mattheo Luzan, and still more by the favour lavished upon _La Picara Justina_, a silly and pedantic pendant to Guzman de Alfarache, by a writer named Ubeda. In Cervantes’s Journey to Parnassus, no literary production of the age is so categorically condemned as this _Picara Justina_. And yet it was oftener printed, and probably more read than even the Journey to Parnassus. Little anecdotal stories of a sprightly character, likewise made their appearance in Spanish literature at this period. A collection of these productions, connected together by means of dialogues, was published in 1610, under the title of Pleasant Dialogues for the Carnival time, (_Dialogos de Apacible Entretenimiento_), by Gaspar Lucas Hidalgo. The political romance of Argenis, was pompously arranged to suit the taste of the Spaniards of that age, by the Gongorist Pellicer de Salas. Among the novels which possessed more of an imaginative character, the best then produced were those of Perez de Montalvan, the dramatic poet.[468]