Other works of Santos, like “The Devil let loose, or Truths of the other World dreamed about in this,” and “The Live Man and the Dead One,” are of the same sort with the last;[185] while yet others run even more to allegory, like his “Tarascas de Madrid,”[186] and his “Gigantones,”[187] suggested by the huge and unsightly forms led about to amuse or to frighten the multitude in the annual processions of the Corpus Christi;--the satirical interpretation he gives to them being, that worse monsters than the Tarascas might be seen every day in Madrid by those who could distinguish the sin and folly that always thronged the streets of that luxurious capital. But though such satires were successful when they first appeared, they have long since ceased to be so; partly because they abound in allusions to local circumstances now known only to the curiosity of antiquarians, and partly because, in all respects, they depict a state of society and manners of which hardly a vestige remains. [185] “El Diablo anda Suelto,” (Madrid, 1677,) and “El Vivo y el Difunto,” (1692,) are both very curious fictions. [186] “Las Tarascas de Madrid y Tribunal Espantoso,” Madrid, 1664, Valencia, 1694, etc. “La Tarasca de Parto en el Meson del Infierno y Dias de Fiestas por la Noche,” Madrid, 1671, Valencia, 1694, are again interesting, partly because they contain anecdotes and sketches that serve to explain the popular religious theatre. [187] “Los Gigantones de Madrid por defuera,” Madrid, 1666, 12mo. Santos is the last of the writers of Spanish tales previous to the eighteenth century that needs to be noticed.[188] But though the number we have gone over is large for the length of the period in which they appeared, not a few others might be added. The pastoral romances from the time of Montemayor are full of them;--the “Galatea” of Cervantes, and the “Arcadia” of Lope de Vega, being little more than a series of such stories, slightly bound together by yet another that connects them all. So are, to a certain degree, the _picaresque_ fictions, like “Guzman de Alfarache” and “Marcos de Obregon”;--and so are such serious fictions as “The Wars of Granada” and “The Spanish Gerardo.” The popular drama, too, was near akin to the whole; as we have seen in the case of Timoneda, whose stories, before he produced them as tales, had already been exhibited in the form of farces on the rude stage of the public squares; and in the case of Cervantes, who not only put part of his tale of “The Captive” in “Don Quixote” into his second play of “Life in Algiers,” but constructed his story of “The Liberal Lover” almost wholly out of his earlier play on the same subject. Indeed, Spain, during the period we have gone over, was full of the spirit of this class of fictions,--not only producing them in great numbers, and strongly marked with the popular character, but carrying their tone into the longer romances and upon the stage to a degree quite unknown elsewhere.[189]