Edited by Elijah Clarence Hills and S. Griswold Morley.
rs the imitation of Italian
models which was to supplant the ancient fashion.
Francisco Imperial, a worshiper of Dante, and other
Andalusians such as Ruy Páez de Ribera, Pero González de
Uceda and Ferrán Manuel de Lando, strove to introduce
Italian meters and ideas. They first employed the Italian
hendecasyllable, although it did not become acclimated
till the days of Boscán. They likewise cultivated the
metro de arte mayor, which later became so prominent
(see below, p. lxxv ff.). But the interest of the poets of
the Cancionero de Baena is mainly historical. In
spite of many an illuminating side-light on manners,
of political invective and an occasional glint of
imagination, the amorous platitudes and wire-drawn
love-contests of the Galician school, the stiff allegories
of the Italianates leave us cold. It was a transition
period and the most talented were unable to master the
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