Other poets, among whom were Forner, Iglesias, and Cienfuegos, were more under the influence of the Salamanca school than Gonzalez was. Forner, like Melendez, was born in Estremadura, and the two young friends were educated together at Salamanca. In his critical opinions,--partly shown in a satire “On the Faults introduced into Castilian Poetry,” which gained an academic prize in 1782, and partly in his controversies with Huerta on the subject of the Spanish theatre,--he inclines much to the stricter French school. But his poetry is more free than such opinions would imply; and in his latter years, when he lived as a magistrate at Seville, and studied Herrera, Rioja, and the other old masters who were natives of its soil, he attached himself yet more decidedly to the national manner, and approached nearer to the serene severity of Gonzalez. Unhappily, his life, besides being much crowded with business, was short. He died in 1797, only forty-one years old; and, except his prose works, the best of which is a well-written defence of the literary reputation of his country against the injurious imputations of foreigners, he left little to give the world proof of the merits he possessed, or the influence he really exercised.[357] [357] Juan Pablo Forner, “Oracion Apologética por la España y su Mérito Literario,” Madrid, 1786, 12mo. His critical controversies and discussions were chiefly under assumed names,--Tomé Cecial, Varas, Bartolo, etc. His poetry is best found in the “Biblioteca” of Mendibil y Silvela, (Burdeos, 1819, 4 tom. 8vo,) and in the fourth volume of Quintana’s “Poesías Selectas”;--an attempt to publish a collection of all his works, edited by Luis Villanueva, having stopped after issuing the first volume, Madrid, 1843, 8vo.