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The mysterious La Gaticida, published in Paris in 1604, gathers in its three parts some topics of the poetry of cats in the Golden Age. But, together with them, it makes a more intense mockery of the “hidalguía” and social concerns. It also manifests a militant anticlericalism, which could be enjoyed more outside Spanish borders. A second Gaticida, anonymous and also in real octaves, allows us to appreciate the originality of the printed in Paris.