Once more, as in the case of the immediate followers of Garcilaso, we must pass over the names of all but the chiefs very lightly.[14] The Aragonese brothers Lupercio and Bartolomé de Argensola, who may be classed among the poets of Castile; Francisco de Figueroa, who spent nearly all his life in Italy; Rioja, the poet of flowers, and the author of a moral poem on the Ruins of Italica (a Roman colony near Seville), inspired by Joachim du Bellay; Arguijo, and many others, must be passed over in silence. It is proper to note, however, that whatever anybody else was doing at this time, Lope de Vega did in as great quantities as men who did nothing else. But there will be occasion to speak of Lope elsewhere. For the present he must make room for the writer whom some have claimed as the most genuine lyric poet of Spain, and who bears the discredit of having flooded the literature of his country with a ruinous affectation. [SN: _Góngora and Góngorism._] Don Luis de Argote y Góngora, who habitually used the second of these names, which was his mother’s, was a Cordovese, born in 1561.[15] He was educated at Salamanca, followed the Court for some years, and was attached to the Duke of Lerma. He took orders, and received a benefice when advanced in life, and died in his native city in 1627. His evil fame, based on the invention of the particular form of bad literature called after him Góngorism, is greater than his good, which yet has some foundation. His _romances_ on stories of captives among Barbary pirates, and of wars on the frontiers, are among the best of their kind. Among his earlier poems on the Tuscan models there are some which possess the lyric cry with a degree of intensity very rare among the Spaniards. The third _cancion_, for instance, contains a singularly passionate and admirably worded variation, on the theme of Shakespeare’s forty-fourth sonnet, “If the dull substance of my flesh were thought.” But it was not for this, the work of his earlier years, that the reputation of Góngora has been spread over the world, but because he, to steal an image from Carlyle, swings in chains on the side of Parnassus, as the inventor of “El Culteranismo” or “Góngorism.” At some period in his life he began to write in this style. Hostile critics say he did so because he could not attract sufficient attention by writing with sanity. Admirers have asserted that he had a literary ambition to improve the poetic language of Spain, to make it, in fact, more _culto_--more cultivated. The question what exactly Góngorism was, will be best answered by an example. Here, for instance, is a passage from the _Pyramus and Thisbe_, a short poem, published in 1636 by his admirer Cristobal de Salazar Mardones, with a wordy commentary of incredible pomposity, and futility. The English translation is put below the Spanish on the Hamiltonian system, and the reader is begged to observe that the inversions and transpositions are only a little