Quevedo’s writings, taken altogether in verse and in prose, resemble a massy ornament of jewellery, in which the setting of some parts is exquisitely skilful, of others extremely rude, and in which the number of false stones and of gems of inestimable value are nearly equal. His most numerous, and unquestionably his best productions, are those of the satirical and comic kind. Though Quevedo did not strike into a totally new course, yet by a union peculiar to himself of sports of fancy, with the maxims of reason and morality, he evidently enlarged the sphere of satirical and comic poetry in Spanish literature. He occasionally approached, though he never equalled, the delicacy and correctness of Cervantes. His wit is sufficiently caustic; but it is accompanied by a coarseness which would be surprising, considering his situation in life, were it not that Quevedo, as an author, sought to indemnify himself for the constraint to which, as a man of the world he was compelled to submit. For this reason, perhaps, he bestowed but little pains on the correction of his satires. His ideas are striking; and are thrown together sometimes with absolute carelessness, sometimes with refined precision; but for the most part in a distorted and mannered strain of language. This mixed character of cultivation and rudeness peculiarly characterizes his satirical and comic works in verse, in which, as he himself says, he has exhibited “truth in her smock, but not quite naked.”[478] He appears as the rival of Gongora in numerous comic canciones and romances in the old national style.[479] In these compositions he humorously parodied the extravagant images of the Marinists,[480] and the affected singularity of the Gongorists.[481] Quevedo wrote no inconsiderable number of his comic and satirical poems in the jargon of the Spanish gypsies; and it is therefore probable that they are not intelligible to many readers on this side of the Pyrenees.[482] These romances and canciones, which were distinguished by the name of Xacaras, were rendered so extremely popular by Quevedo, that even down to the present day the Spaniards continue to admire them.[483] His Bayles, or comic dancing songs, are, on account of their numerous allusions to national peculiarities, no less obscure to foreigners than the Xacaras.