s exhausted in
futile warfare, and virile thought was stifled by the
Inquisition, supported by the monarchs. Hence the
luxuriant literature of the time runs in the channels
farthest from underlying social problems; philosophy and
political satire are absent, and the romantic drama, novel
and lyric flourish. But in all external qualities the
poetry written during this period has never been equaled
in Spain. Its polish, color and choiceness of language
have been the admiration and model of later Castilian
poets.

The superficial nature of this literature is exhibited
in the controversy excited by the efforts of Boscan and
Garcilaso to substitute Italian forms for the older
Spanish ones. The discussion dealt with externals; with
meters, not ideas. Both schools delighted in the airy
nothings of the conventional love lyric, and it matters
little at this distance whether they were cast in lines of
eleven or eight syllables.

The contest was warm at the time, however. Sa de Miranda
(1495-1558), the chief exponent of the Italian school in
Portugal, wrote effectively also in Castilian. Gutierre de
Cetina (1518?-1572?) and Fernando de Acuna (1500?-1580?)
are two others who supported the new measures. One whose
example had more influence is Diego Hurtado de page xxi
Mendoza (1503-1575), a famous diplomat, humanist and
historian. He entertained his idle moments with verse,
writing cleverly in the old style but turning also toward
the new. His sanction for the latter seems to have proved
decisive.

Cristobal de CASTILLEJO (1490-1556) was the chief defender
of the native Spanish forms. He employed them himself in
light verse with cleverness, clearness and finish, and
also attacked the innovators with all the resources of
a caustic wit. In this patriotic task he was for a time
aided by an organist of the cathedral at Granada, Gregorio
Silvestre (1520-1569), of Portuguese birth. Silvestre,
however, who is noted for the delicacy of his poems in
whatever style, was later attracted by the popularity of
the Italian meters and adopted them.

This literary squabble ended in the most natural way,
namely, in the co-existence of both manners in peace and
harmony. Italian forms were definitively naturalized in
Spain, where they have maintained their place ever since.
Subsequent poets wrote in either style or both as they
felt moved, and no one reproached them. Such was the habit
of Lope de Vega, Gongora, Quevedo and