^j;=5!? ITHIN the rich corpus of metrical psalms comtm itt^ta * posed during Spain's Golden Age, Fray Luis de Aivi bl T 0_Le6n's versions are universally accorded the high;@ ^ VV |@ est praise. As heir to a literary tradition that ex,.A s iGne * tended back to the late Middle Ages and early.f4Li J Renaissance, the Salamancan scholar and poet revolutionized Spain's engagement with the Psalter, establishing the lira or estrofa alirada as the dominant verse form for vernacular psalm translations (Rivers 112; Nufiez 357), and making close lexical parallelism and philological accuracy, rather than interpretive digression, the norm for most of his followers. As may be expected from the great Augustinian's role as el primer poeta humanista espaniol en lengua vulgar (A. Blecua 97), Fray Luis was widely imitated, especially among disciples of his own order, and questions of authorship and dating of the many psalm versions attributed to him continue to trouble literary historians (Nufiez 357-8; J. M. Blecua Poesia completa, 41-2). Jose Manuel Blecua, in his 1990 edition of the Poesia completa, based on all extant manuscripts, includes as genuine the following poems: Psalm 1 Beatus vir, 4 Cum invocarem, 6 ne in furore, 9 Salvum me fac, 12 Usquequo, Domine (2 versions), 17 Diligam te, 18 Coeli enarrant, 24 Ad te, Domine, levavi,