With the third book of the first division commence the Anacreontic songs, or as they are styled in the collection, the _Delicias_ of the poet. Their measure is chiefly anacreontic, sometimes in blank verse, and at other times presenting the most pleasing alternation of rhymes and assonances. Light pleasing images and soft luxuriant ideas float through these songs even more gracefully than in the odes attributed to Anacreon.[505] Nothing can exceed the beauty of those in which a certain delicate moral feeling is combined with a pathetic simplicity.[506] Only a few can be said to be absolutely copied from the greek or latin originals. The fourth book of the first part, contains the complete translation of the greek odes ascribed to Anacreon. The second division is chiefly occupied with elegies and idyls, or _eidillios_, as Villegas, in hellenizing the term, chooses to call them. The elegies which might with greater propriety be denominated epistles, do not belong to the best of the kind in Spanish literature; in the idyls, or mythological tales, as they ought to be called, Villegas appears as one of the _Cultoristos_, or disciples of the school of Gongora.[507] The collection concludes with several imitations of greek and latin verse, which may be regarded as the first compositions of the kind in Spanish, that were not complete failures. Doubtless the Spanish language adapts itself somewhat more readily to the ancient metres than the Italian; for final syllables sounded in pronunciation, but subject to elision in scanning, do not occur so frequently in Spanish as in Italian.--This difference is, however, in reality but of trivial importance; and Spanish verses in the ancient syllabic measures do not flow much more naturally than the Italian compositions of the same kind; because many words derived from the latin, have received in Spanish, as well as in Italian, a modern quantity,[508] which is generally confounded with the ancient quantity by the imitators of the greek and latin metres. The Spanish hexameters of Villegas, it is true, approach in point of facility to the hexameters of antiquity.[509] But the pentameters defied his imitative talent.[510] In his sapphic verse the measure resolves into iambics: one of these sapphic odes is, however, exquisitely beautiful.[511] CONTINUATION OF THE HISTORY OF LYRIC, BUCOLIC, EPIC, DIDACTIC, AND SATIRICAL POETRY, TO THE CLOSE OF THE PERIOD EMBRACED BY THIS SECTION. After Quevedo and Villegas, and before entering upon the notice of a series of dramatic poets, whose works must form a subject of separate consideration, it will be necessary to mention several ingenious writers, who, though endowed with eminent talents, were nevertheless unable to retard the fast approaching close of the golden era of Spanish poesy. JAUREGUI.