ROMANTIC FICTION AND POETRY. 237 Without deciding on its proper classification as a chapter work of art, however, its real merits are settled by ^^' its wide popularity, both at home and abroad. It ^uTon^om. has been translated into most of the European lan- guages, and the preface to the last edition publish- ed in Madrid, so recently as 1822, enumerates thirty editions of it in Spain alone, in the course of the sixteenth century. Impressions were multi- plied in Italy, and at the very time when it was interdicted at home on the score of its immoral tendency. A popularity thus extending through distant ages and nations, shows how faithfully it is built on the principles of human nature. ^^ The drama assumed the pastoral form, in its early Juandeia stages, in Spain, as in Italy. The oldest specimens in this way, which have come down to us, are the productions of Juan de la Encina, a contemporary of Roxas. He was born in 1469, and, after com- pleting his education at Salamanca, was received into the family of the duke of Alva. He continued there several years, employed in the composition of various poetical works, among others, a version of Virgil's Eclogues, which he so altered as to accom- modate them to the principal events in the reign of Ferdinand and Isabella. He visited Italy in the severity of foreign critics ; and of manners, have made it immor- Signorelli, after standing up stout- tal." Storia Critica de' Teatri An- ly in defence of the precedence of tichi e Moderni, (Napoli, 1813,) the " Orfeo " as a dramatic com- tom. vi. pp. 146, 147. position, admits the " Celestina " 38 Bouterwek, Literatura Espa- to be a " work, rich in various iiola, notas de traductores, p. 234. beauties, and meriting undoubted — Andres, Letteratura, tom. v. applause. In fact," he continues, pp. 170,171. — Lampillas, Lette- " the vivacity of the description of ratura Spagnuola, torn. vi. pp. 57- character, and faithful portraiture 59.
