The scene of the whole work is laid chiefly in the East, amidst battles with Turks and Mohammedans; thus showing to what quarter the minds of men were turned when it was written, and what were the dangers apprehended to the peace of Europe, even in its westernmost borders, during the century after the fall of Constantinople. But all reference to real history or real geography was apparently thought inappropriate, as may be inferred from the circumstances, that a certain Calafria, queen of the island of California, is made a formidable enemy of Christendom through a large part of the story; and that Constantinople is said at one time to have been besieged by three millions of heathen. Nor is the style better than the story. The eloquence which is found in many passages of the Amadis is not found at all in Esplandian. On the contrary, large portions of it are written in a low and meagre style, and the rhymed arguments prefixed to many of the chapters are any thing but poetry, and quite inferior to the few passages of verse scattered through the Amadis.[379] [379] There are two _Canciones_ in Amadis, (Lib. II. c. 8 and c. 11,) which, notwithstanding something of the conceits of their time, in the Provençal manner, are quite charming, and ought to be placed among the similar _Canciones_ in the “Floresta” of Bohl de Faber. The last begins,-- Leonoreta, fin roseta, Blanca sobre toda flor; Fin roseta, no me meta En tal cuyta vuestro amor. The oldest edition of the Esplandian now known to exist was printed in 1526, and five others appeared before the end of the century; so that it seems to have enjoyed its full share of popular favor. At any rate, the example it set was quickly followed. Its principal personages were made to figure again in a series of connected romances, each having a hero descended from Amadis, who passes through adventures more incredible than any of his predecessors, and then gives place, we know not why, to a son still more extravagant, and, if the phrase may be used, still more impossible, than his father. Thus, in the same year 1526, we have the sixth book of Amadis de Gaula, called “The History of Florisando,” his nephew, which is followed by the still more wonderful “Lisuarte of Greece, Son of Esplandian,” and the most wonderful “Amadis of Greece,” making respectively the seventh and eighth books. To these succeeded “Don Florisel de Niquea,” and “Anaxartes, Son of Lisuarte,” whose history, with that of the children of the last, fills three books; and finally we have the twelfth book, or “The Great Deeds in Arms of that Bold Knight, Don Silves de la Selva,” which was printed in 1549; thus giving proof how extraordinary was the success of the whole series, since its date allows hardly half a century for the production in Spanish of all these vast romances, most of which, during the same period, appeared in several, and some of them in many editions.