The intimate union, which, during the sixteenth and seventeenth centuries, subsisted between the eloquence of prose and poetry in Spain, renders a separate history of each unnecessary. A division may, however, be advantageously made in the whole body of the Spanish literature of this period, though the two sections cannot form two distinct epochs. From the introduction of the Italian style into Spanish poetry, until the decline of learning in the latter years of the reign of Philip IV. no literary revolution was experienced in Spain. The _corrupters of taste_, as certain writers who appeared in the latter half of this period are called by some of the Spanish critics, only continued a movement, the impulse of which had been given long before by various authors, and particularly by the dramatic poets. Several of these writers were contemporaries with authors who placed a high value on classical correctness, and yet they exercised a much greater influence over the general literature of Spain than the latter. To confound Calderon, who perfected the Spanish comedy, according to its true national character, with the corrupters of taste, is an idea which could only have been entertained in the eighteenth century, when it became customary in Spain, as every where else, to measure all productions of genius by the rules of French criticism. But at the same time, that Spanish poetry approximated as closely to the Italian, as the necessary connection of the former with the national style would permit, that national style, with all its faults and beauties, still maintained the pre-eminence; and the passion for Italian correctness again declined. This crisis in Spanish literature, occasioned by the struggle between Italian refinement and the bold eccentricity of the national manners, occurred in the age of Cervantes. At that time Lope de Vega shone with more brilliancy in the eyes of his countrymen than Cervantes, and the party of the former gained the victory and kept the field. The taking of a distinct view of the progress of poetry and eloquence in Spain, will therefore be facilitated, if the period of the influence of Cervantes and Lope de Vega be made an historical resting point. It is doubtless very remarkable, that Cervantes, who created an epoch in the general literature of Europe, should not have produced sufficient effect on the Literature of his own country, to justify the choosing him as the founder of a new epoch in its literary history. An opportunity will hereafter arise for reverting to this subject.[147] FIRST SECTION. _History of Spanish Poetry and Eloquence, from the Introduction of the Italian Style to the Age of Cervantes and Lope de Vega._ OCCASION OF THE INTRODUCTION OF THE ITALIAN STYLE.