_Boreas._ Ensayad vos de mandarme Quanto yo podré hazer, Pues os desseo seruir: Si quiera porqu’ en prouarme, Conozcays si mi querer Concierta con mi dezir. _Doresta._ Si mis ganas fuessen ciertas De quereros yo mandar, Quiça de vuestro hablar Saldrian menos offertas. _Boreas._ Si mirays, Señora, mal me tratais. _Doresta._ Como puedo maltrataros Con palabras tan honestas Y por tan cortesas mañas? _Boreas._ Como? ya no osso hablaros, Que teneys ciertas respuestas Que lastiman las entrañas. _Doresta._ Por mi fe tengo manzilla De veros assi mortal: Morireys de aquesse mal? _Boreas._ No seria maravilla. _Doresta._ Pues, galan, Ya las toman do las dan. _Boreas._ Por mi fe, que holgaria, Si, como otros mis yguales, Pudiesse dar y tomar: Mas veo, Señora mia, Que recibo dos mil males Y ninguno puedo dar. Propaladia, Madrid, 1573, 18mo, f. 222. All the plays of Naharro have a versification remarkably fluent and harmonious for the period in which he wrote,[480] and nearly all of them have passages of easy and natural dialogue, and of spirited lyrical poetry. But several are very gross; two are absurdly composed in different languages,--one of them in four, and the other in six;[481] and all contain abundant proof, in their structure and tone, of the rudeness of the age that produced them. In consequence of their little respect for the Church, they were soon forbidden by the Inquisition in Spain.[482] [480] There is a good deal of art in Naharro’s verse. The “Hymenea,” for instance, is written in twelve-line stanzas; the eleventh being a _pie quebrado_, or broken line. The “Jacinta” is in twelve-line stanzas, without the _pie quebrado_. The “Calamita” is in _quintillas_, connected by the _pie quebrado_. The “Aquilana” is in _quartetas_, connected in the same way; and so on. But the number of feet in each of his lines is not always exact, nor are the rhymes always good, though, on the whole, a harmonious result is generally produced. [481] He partly apologizes for this in his Preface to the Reader, by saying that Italian words are introduced into the _comedias_ because of the audiences in Italy. This will do, as far as the Italian is concerned; but what is to be said for the other languages that are used? In the _Introyto_ to the “Serafina,” he makes a jest of the whole, telling the audience,--