The revival of literature coincides in Spain with the period of its greatest power and prosperity. The early part of the sixteenth century is called “el Siglo de oro.” An Italian influence is predominant. Castillejo keeps to the earlier style in his charming compositions: “Dialogo entre el autor y su pluma,” and “Sermones de Amores.” Boscan and Garcilaso were the first to introduce the Italian measure into Spanish verse. Some poets wrote in both these styles. Gregorio Sylvestre is among the best of them; an excellent poet, but very little known. Garcilaso was the earliest lyrical poet, 1503-1536. His verses are pure in style, in the manner of Virgil and Horace. His life is interesting: he fought by the side of Charles V., and was killed at the assault of the fortress of Frejus (Nice). One of his contemporaries, Hurtado de Mendoza, a soldier and statesman, popularized classical studies. His best works are the “Rebellion de los Moriscos” and the well-known “Lazarillo de Tormes.” The classical style is now universally adopted in Spain. Fray Luis de Leon was undoubtedly the best poet of this period. His ode on the “Ascension” and his “Poema a la Virgen” may certainly be reckoned among the best compositions in the language. Several poets of an inferior order belong to the sixteenth century. Cesina, Acuna, Figueroa, Medrano, La Torre, Mesa and Alcazar are among the best. Their works are clever in parts, but are generally unequal. This characteristic becomes a leading feature in Spanish poetry. At the end of the seventeenth century lyrics began to decay, but no author carried affectation and exaggeration to such a height as Gongora, 1561-1627: a gifted poet, full of charm in his simple compositions (vide translations by Archdeacon Churton), though most obscure in his “Soledades” and “Polifemo.” This style was called in Spain culteranismo, and not even the best dramatic authors of the seventeenth century were free from its defects. The imitators of Gongora continued until the eighteenth century, although here and there a poet like Rioja tried to check the movement. Epic poetry in Spain is inferior to the dramatic and lyrical styles. The specimens which exist are old and devoid of inspiration. “El Monserrate,” by Virues; “La Cristiada,” by Hojeda; “La Vida de San Jose,” by Valdivieso, and “El Bernardo,” by Balbuena, may be quoted as examples. “La Araucana,” by Ercilla, contains some poetical passages, but in general is hardly more than a historical narrative. “La Gatomaquia,” by Lope de Vega, though a burlesque, is considered by many critics the best epic poem in the Spanish language.