Whatever may be one's opinion of the personality of the muse or muses of his verse, the love that Becquer celebrates is not the love of oriental song, "nor yet the brutal deification of woman represented in the songs of the Provençal Troubadours, nor even the love that inspired Herrera and Garcilaso.

He published between 1687 and 1700, the year of his death, Knolless History of the Turks, with a continuation of his own, and also translated Platinas Lives of the Popes and Garcilaso de la Vegas History of Peru.]

© 1Jul25, AF28953. R112096, 2Mar53, Masha Schalit (W) GANTZ, MARY S. T. SEE Taylor, Mary S. GARCILASO DE LA VEGA.

SEE Garcilaso de la Vega.

SEE Garcilaso de la Vega.

© 1Jul25, AF28953. R112096, 2Mar53, Masha Schalit (W) GANTZ, MARY S. T. SEE Taylor, Mary S. GARCILASO DE LA VEGA.

SEE Garcilaso de la Vega.

SEE Garcilaso de la Vega.

It was Garcilaso de la Vega, the prince of Spanish poesy, the Spanish Petrarch, according to his fellow-countrymen.

He published between 1687 and 1700, the year of his death, Knolless History of the Turks, with a continuation of his own, and also translated Platinas Lives of the Popes and Garcilaso de la Vegas History of Peru.]

He appears to have begun writing independently of the Italian school, and, even after he came under the influence of Garcilaso, to have preserved much of his natural simplicity and genuineness of feeling.

The first and foremost of those who deliberately based their style on the Italian was Garcilaso de la Vega, whose pastoral work dates from about 1526.

This poem, a portion of which is translated by Ticknor, should of itself suffice to place Garcilaso in the front rank of pastoral writers.

Garcilaso's followers were numerous.

Ribeiro too, better known for his romance, left a series of five autobiographical eclogues dating from about 1516-24, and consequently earlier than Garcilaso's.

His chief merit in literature, apart from his often delicate epigrams, his élégant badinage and his graceful if at times facile verse, lies in the power he possesses, in common with Garcilaso and Spenser, of treating the allegorical pastoral without entirely losing the charm of naïve simplicity and genuine feeling.

In the sixth eclogue Faustusthe Don Felix of the Spanish and the Proteus of Shakespearehimself appears, for no better reason it would seem than to give his interlocutor an opportunity of enlarging on the delights of country life and introducing the remarks on fowling borrowed from Sannazzaro by way of Garcilaso's second eclogue.

We have already seen that Googe, besides borrowing from Garcilaso's version of a portion of the Arcadia, himself paraphrased passages of the Diana in his eclogues, and the latter work also supplied material for the pen of Sir Philip Sidney.

Frati, L. Fratti, Giovanni Fraunce, Abraham Frederick of Aragon, King of Naples Frezzi, Frederigo Frutti d'amore Furness, H. H. G., T. Galatea (Cervantes) Galatea (Lollio) Galizia Gallathea Gammer Gurton's Needle Garcia de Toledo Garcilaso de la Vega Gardner, E. G. Gascoigne, George Gaudeamus!

The whole passage was versified in Spanish by Garcilaso, whence a portion found its way into Googe's eclogues.

" GARCILASO, called the INCA, as descended from the royal family of Peru; lived at Cordova; wrote "History of Peru," as well as a "History of Florida" (1530-1568).

GARCILASO DE LA VEGA, a Spanish poet, born in Toledo, a soldier by profession; accompanied Charles V. on his expeditions; died fighting bravely in battle; his poems consist of sonnets, elegies, &c., and reveal an unexpected tenderness (1503-1536).