Note G — Chapter III · FROM GARCILASSO TO THE ARGENSÓLAS.

These signs I think sufficient for my purpose. Whoso desires yet farther proofs may compare the ode of Torre, which begins "Sale de la sagrada," with the two canciones of Quevedo, "Pues quitas primavera al año el ceño," and "Dulce señora mia," placed in Euterpe, whence Velasquez took the verses which he cites here and there in his discourse, to prove the resemblance. He may do more; he may look in Melpomene for the funeral Silva of the Turtle, and compare it with the very beautiful cancion of Torre, to the same bird. What a troublesome ingenuity, what exaggeration, what hyperbole, what coldness in the first; what melancholy, tenderness, and sentiment in the second! It is quite impossible that the same object could produce an inspiration so different in the same fancy. The example of Lope is cited, in the poetry of Burguillos; but the real and absolute similarity that exists between these verses and the diction of Lope and Burguillos, notwithstanding the difference of subject and character, the insinuation of Lope himself, that of Quevedo in his approbation of the same poems, the conclusive authority of Montalban and Antonio de Leon, friends and cotemporaries of Lope, who attribute them to him, make the identity of Lope with Burguillos as evident, as the reasons already alleged do the diversity of Francisco de Torre and Quevedo.