[464] Three editions of it are cited by L. F. Moratin, (Catálogo, No. 20,) the earliest of which is in 1515. My copy, however, is of neither of them. It is dated Çaragoça, 1544, (folio,) and is at the end of the “Problemas” and of the other works of Villalobos, which also precede it in the editions of 1543 and 1574. But in 1517, or a little earlier, a new movement was felt in the difficult beginnings of the Spanish drama; and it is somewhat singular, that, as the last came from Portugal, the present one came from Italy. It came, however, from two Spaniards. The first of them is the anonymous author of the “Question of Love,” a fiction to be noticed hereafter, which was finished at Ferrara in 1512, and which contains an eclogue of respectable poetical merit, that seems undoubtedly to have been represented before the court of Naples.[465] [465] It fills about twenty-six pages and six hundred lines, chiefly in octave stanzas, in the edition of Antwerp, 1576, and contains a detailed account of the circumstances attending its representation. The other, a person of more consequence in the history of the Spanish drama, is Bartolomé de Torres Naharro, born at Torres, near Badajoz, on the borders of Portugal, who, after he had been for some time a captive in Algiers, was redeemed, and visited Rome, hoping to find favor at the court of Leo the Tenth. This must have been after 1513, and was, of course, at the time when Juan de la Enzina resided there. But Naharro, by a satire against the vices of the court, made himself obnoxious at Rome, and fled to Naples, where he lived for some time under the protection of the noble-minded Fabricio Colonna, and where, at last, we lose sight of him. He died in poverty.[466] [466] This notice of Naharro is taken from the slight accounts of him contained in the letter of Juan Baverio Mesinerio prefixed to the “Propaladia” (Sevilla, 1573, 18mo) as a life of its author, and from the article in Antonio, Bib. Nov., Tom. I. p. 202. His works, first published by himself at Naples in 1517, and dedicated to a noble Spaniard, Don Fernando Davalos, a lover of letters,[467] who had married Victoria Colonna, the poetess, are entitled “Propaladia,” or “The Firstlings of his Genius.”[468] They consist of satires, epistles, ballads, a Lamentation for King Ferdinand, who died in 1516, and some other miscellaneous poetry; but chiefly of eight plays, which he calls “Comedias,” and which fill almost the whole volume.[469] He was well situated for making an attempt to advance the drama, and partly succeeded in it. There was, at the time he wrote, a great literary movement in Italy, especially at the court of Rome. The representations of plays, he tells us, were much resorted to,[470] and, though he may not have known it, Trissino had, in 1515, written the first regular tragedy in the Italian language, and thus given an impulse to dramatic literature, which it never afterwards entirely lost.[471]