The second part of this singular volume, which is more poetical than the first, is against human, and in favor of Divine love; and the third, which is very long, consists of a series of consolations deemed suitable for the different forms of human sorrow and care;--these two parts being necessarily didactic in their character. Each of the three is addressed to a member of the great family of Alva, to which their author seems to have been attached; and the whole is called by him _Triaca_; a word which means _Treacle_, or _Antidote_, but which Lebrixa says he uses in the sense of _Ensalada_,--_Salad_ or _Medley_. The volume, taken as a whole, is as strongly marked with the spirit of the age that produced it as the contemporary Cancioneros Generales, and its poetical merit is much like theirs. Nor were the efforts made to advance them in other directions marked by good judgment or permanent success. We pass over the “Costanza” by Castillejo, which seems to have been in the manner of Naharro, and is assigned to the year 1522,[7] but which, from its indecency, was never published, and is now probably lost; and we pass over the free versions, made about 1530, by Perez de Oliva, Rector of the University of Salamanca, from the “Amphitryon” of Plautus, the “Electra” of Sophocles, and the “Hecuba” of Euripides, because they fell, for the time, powerless on the early attempts of the national theatre, which had nothing in common with the spirit of antiquity.[8] But a single play, printed in 1536, should be noticed, as showing how slowly the drama made progress in Spain. [7] Moratin, Catálogo, No. 35, and _ante_, Vol. I. p. 503. [8] Oliva died in 1533; but his translations were not printed till 1585.