Several religious poems belong to the same period. One by Pedro de Reynosa, printed in 1727, is on “Santa Casilda,” the converted daughter of a Moorish king of Toledo, who figures in the history of Spain during the eleventh century. Another, called “The Eloquence of Silence,” by Miguel de Zevallos, in 1738, is devoted to the honor of Saint John of Nepomuck, who, in the fourteenth century, was thrown into the Moldau, by order of a king of Bohemia, because the holy man would not reveal to the jealous monarch what the queen had intrusted to him under the seal of the confessional. Both are in the octave stanzas common to such poems, and are full of the faults of their times. Two mock-heroic poems, that naturally followed such attempts, are not better than the serious poems which provoked them.[290] [290] “Santa Casilda, Poema en Octavas Reales, por el R. P. Fr. Pedro de Reynosa,” Madrid, 1727, 4to. It is in seven cantos, and each canto has a sort of codicil to it, affectedly called a _Contrapunto_.--“La Eloquencia del Silencio, Poema Heróico, por Miguel de la Reyna Zevallos,” Madrid, 1738, 4to. Of the mock-heroic poems mentioned in the text, one is “La Prosérpina, Poema Heróico, por D. Pedro Silvestre,” Madrid, 1721, 4to,--twelve mortal cantos. The other is “La Burromaquia,” which is better, but still not amusing. It is unfinished, and is found in the “Obras Póstumas de Gabriel Alvarez de Toledo.” The divisions are not called “Cantos,” but “_Brayings_.” I have seen very ridiculous extracts from a poem by Father Butron on Santa Teresa, printed in 1722, and from one on St. Jerome, by P. M. Lara, 1726, but I have never happened to fall in with the poems themselves, which seem to be as bad as any of their class.