Quedate con tu maldad,
Con tu trabajo inhumano,
Donde el hermano al hermano
No guarda fe ni verdad.
Muerta es toda caridad;
Todo bien en ti es ya muerto;—
Acojome para el puerto,
Fuyendo tu tempestad.
After the forty stanzas to which the preceding lines belong, follow two more poems, the first entitled “The Complaint of Faith,” partly by Diego de Burgos and partly by Pero Fernandez de Villegas, and the second, a free translation of the Tenth Satire of Juvenal, by Gerónimo de Villegas, brother of Pero Fernandez,—each poem in about seventy or eighty octave stanzas, of arte mayor, but neither of them as good as the “Vanity of Life.” Gerónimo also translated the Sixth Satire of Juvenal into coplas de arte mayor, and published it at Valladolid in 1519, in 4to.
[688] Mariana, Hist., Lib. XXIV. c. 19, noticing his death, says, “He died in his best years,”—“en lo mejor de su edad”; but we do not know how old he was. On three other occasions, at least, Don Jorge is mentioned in the great Spanish historian as a personage important in the affairs of his time; but on yet a fourth,—that of the death of his father, Rodrigo,—the words of Mariana are so beautiful and apt, that I transcribe them in the original. “Su hijo D. Jorge Manrique, en unas trovas muy elegantes, en que hay virtudes poeticas y ricas esmaltes de ingenio, y sentencias graves, a manera de endecha, lloró la muerte de su padre.” Lib. XXIV. c. 14. It is seldom History goes out of its bloody course to render such a tribute to Poetry, and still more seldom that it does it so gracefully. The old ballad on Jorge Manrique is in Fuentes, Libro de los Quarenta Cantos, Alcalá, 1587, 12mo, p. 374.