are among his happy efforts. But though he himself published scarcely any of them, the amount of his verses found after his death is represented to have been very great; much greater, we are assured, than could be discovered among his papers a few years later,[471]--probably because, just before he died, “he denounced,” as we are told, “all his works to the Holy Tribunal of the Inquisition, in order that the parts less becoming a modest reserve might be reduced, _as they were_, to just measure by serious and prudent reflection.”[472] [471] “Not the twentieth part was saved of the verses which many persons knew to have been extant at the time of his death, and which, during our constant intercourse, I had countless times held in my hands,” says Gonzalez de Salas, in the Preface to the first part of Quevedo’s Poems, 1648. [472] Preface to Tom. VII. of Obras. His request on his death-bed, that nearly all his works, printed or manuscript, might be suppressed, is triumphantly recorded in the Index Expurgatorius of 1667, p. 425. Such of his poetry as was easily found was, however, published;--the first part by his friend Gonzalez de Salas, in 1648, and the rest, in a most careless and crude manner, by his nephew, Pedro Alderete, in 1670, under the conceited title of “The Spanish Parnassus, divided into its Two Summits, with the Nine Castilian Muses.” The collection itself is very miscellaneous, and it is not always easy to determine why the particular pieces of which it is composed were assigned rather to the protection of one Muse than of another. In general, they are short. Sonnets and ballads are far more numerous than any thing else; though _canciones_, odes, elegies, epistles, satires of all kinds, idyls, _quintillas_, and _redondillas_ are in great abundance. There are, besides, four _entremeses_ of little value, and the fragment of a poem on the subject of Orlando Furioso, intended to be in the manner of Berni, but running too much into caricature.