Mendoza’s sonnets possess neither the grace nor the harmony essential to that species of composition. They owe their existence to the amatory spirit of the age rather than to the poetic inspiration of the author. Though he composed in the Italian manner with less facility than Boscan and Garcilaso, he felt more correctly than they or any other of his countrymen, the difference between the Spanish and Italian languages, with respect to their capabilities for versification. The Spanish admits of none of those pleasing elisions, which, particularly when terminating vowels are omitted, render the mechanism of Italian versification so easy, and enable the poet to augment or diminish the number of syllables according to his pleasure; and this difference in the two languages renders the composition of a Spanish sonnet a difficult task. Still more does the Spanish language seem hostile to the soft termination of a succession of feminine rhymes, for the Spanish poet, who adopts this rule of the Italian sonnet, is compelled to banish from his rhymes, all infinitives of verbs, together with a whole host of sonorous substantives and adjectives.[177] Mendoza, therefore, availed himself of the use of masculine rhymes in his sonnets; but this metrical license was strongly censured by all partizans of the Italian style. Nevertheless had he given to his sonnets more of the tenderness of Petrarch, it is probable that they would have found imitators. Some of them, indeed, may be considered as successful productions, and throughout all the language is correct and noble.[178] Mendoza’s canciones have nearly the same character as his sonnets, except that they more obviously mark the influence of the horatian ode on the lyric fancy of the author. The versification, which is sonorous, though deficient in harmony, is occasionally united with a degree of obscurity from which the other productions of Mendoza are totally exempt.[179] The least successful of his poems in the Italian style is a mythological tale in octave verse, founded on the history of Adonis, but along with which the author has interwoven the history of Atalanta. The story is, however, related in a very pleasing manner.