Chapter 40

FOOTNOTES:[117]As theCanto de Calíopeprofesses to deal solely with living poets—algunos señalados varones que en esta vuestra España viven, y algunos en las apartadas Indias á ella sujetas—the Diego Mendoza mentioned in the twentyfifth stanza cannot refer to the celebrated historian who died ten years before theGalateawas published. But the above lament for Meliso is unquestionably dedicated to his memory. The phraseel aprisco venecianois an allusion to Diego Hurtado de Mendoza's embassy in Venice (1539-1547). It is not generally known that Mendoza visited England as special Plenipotentiary in 1537-1538 with the object of arranging two marriages: one between Mary Tudor and Prince Luiz of Portugal, and one between Henry VIII. and Charles V.'s handsome, witty niece, Dorothea of Denmark (afterwards Duchess of Milan), who declined the honour on the ground that she had only one head. Mendoza's mission was a diplomatic failure: nor does he seem to have enjoyed his stay here. He was made much of, was banqueted at Hampton Court, and confessed that life in England was pleasant enough; but he sighed for Barcelona, and was glad to pass on to the Low Countries and thence to Venice. See theCalendar of State Papers (Spain), vol. v. J. F.-K.[118]Leiva's work would seem to have disappeared. In theCasa de Memoria, which forms part of theDiversas Rimas(1591), Espinel refers to an Alonso de Leiva in much the same terms as Cervantes uses here:—El ánimo gentil, el dulce llanto,El blando estilo, con que enternecidoDon Alonso de Leyva quando cantaA Venus enamora, á Marte espanta.[119]Alonso de Ercilla y Zúñiga was born at Madrid in 1533. He was page to Philip II at the latter's marriage with Mary Tudor in Winchester Cathedral. He sailed for South America in 1555, served against the Araucanos under García Hurtado de Mendoza, Marqués de Cañete, quarrelled with a brother officer named Juan de Pineda, was sentenced to death, reprieved at the last moment, and is said to have been exiled to Callao. Ercilla returned to Spain in 1562, bringing with him the First Part of his epic poem,La Araucana, which he had composed during his campaigns. The original draft was scribbled on stray pieces of paper and scraps of leather: "que no me costó después poco trabajo juntarlos." This First Part was published at Madrid in 1569: the Second Part appeared in 1578, and the Third in 1590. The author died, a disappointed man, in 1594. For a sound appreciation of his talent seeL'Araucana, poème épique por D. Alonso de Ercilla y Zúñiga. Morceaux choisis précedés d'une étude biographique et littéraire, suivis de notes grammaticales, et de versification et de deux lexiques(Paris, 1900) by M. Jean Ducamin. A critical edition ofLa Araucanaby the eminent Chilean scholar, Sr. D. José Toribio Medina, is in preparation.Cervantes expresses the highest opinion ofLa AraucanainDon Quixote(Part I., chap. vi.) where he brackets it with Rufo'sAustriadaand Virués'sMonserrate:—"These three books," said the curate, "are the best that have been written in Castilian in heroic verse, and they may compare with the most famous of Italy; let them be preserved as the richest treasures of poetry that Spain possesses."[120]Barrera believed that the reference is to Juan de Silva, Conde de Portalegre, afterwards Governor and Captain-General of the Kingdom of Portugal. A collection of his letters is said to be in the Biblioteca Nacional at Madrid: Silva is further stated to have revised the manuscript of Hurtado de Mendoza'sHistoria de la Guerra de Granada, first published (posthumously) by Luis de Tribaldos de Toledo at Lisbon in 1627. He certainly wrote the introduction to Tribaldos de Toledo's edition.Juan de Silva, Conde de Portalegre, is said by Jacques-Charles Brunet (Manuel du libraire et de l'amateur de livres, Paris, 1861-1880, vol. ii., col. 217) to be the author of a work entitledDell' unione del regno di Portogallo alla corona di Castiglia, istoria del Sig. Ieronimo di Franchi Conestaggio, gentilhuomo genovese(Genova, 1585). This volume was in Montaigne's library (see M. Paul Bonnefon's valuable contribution—La Bibliothèque de Montaigne—in theRevue d'Histoire littéraire de la France, Paris, 1895, vol. ii., pp. 344-345): so also was the Spanish version of López de Castanheda'sHistoria(M. Paul Bonnefon,op. cit., p. 362). A trace of both these works is observable in the 1595 edition of theEssais(liv. ii., chap. 21,Contre la fainéantise).[121]The soldier, Diego Santisteban y Osorio, is known as the author of a sequel to Ercilla'sAraucana: his fourth and fifth parts were published in 1597.[122]Barrera conjectures that the allusion is to Francisco Lasso de Mendoza who wrote a prefatory sonnet for Luis Gálvez de Montalvo'sPastor de Fílida: see note 24.[123]Barrera states that Diego de Sarmiento y Carvajal contributed verses to thePrimera parte de la Miscelánea austral de don Diego d'Avalós y Figueroa en varios coloquios(Lima, 1603). I have not seen this work.[124]Barrera fails to give any particulars of Gutierre Carvajal of whom, also, I find no trace in recent bibliographies.[125]Prefatory sonnets by the Toledan soldier, Luis de Vargas Manrique, are found in Cervantes'sGalateaand in López Maldonado'sCancionero, both published in 1585: see notes 23 and 34.[126]Francisco Campuzano practised medicine at Alcalá de Henares, Cervantes's birthplace. In 1585 he contributed to López Maldonado'sCancioneroand to Padilla'sJardín espiritual: another copy of his verses precedes Gracián Dantisco'sGalateo español(1594): see notes 23, 27, and 34.[127]Francisco Suárez de Sosa, a native of Medina del Campo, practised as a physician. Barrera states that Suárez de Sosa wroteDel arte como se ha de pelear contra los turcos(1549) andDe las ilustres mujeres que en el mundo ha habido; but I do not understand him to say that either of these works was printed. Barrera conjectures that Suárez de Sosa is introduced in theGalateaunder the name of Sasio.[128]Nothing seems to be known of Doctor Baza.[129]I have not succeeded in identifying the Licenciado Daza with any of the Dazas mentioned by Bartolomé José Gallardo,Ensayo de una biblioteca española de libros raros y curiosos(Madrid, 1863-1889), vol. ii., cols. 750-754.[130]The Maestro Garay, praised as adivino ingenioin Lope de Vega'sArcadia, is represented by aglosa, a copy ofredondillas, and five sonnets in Manuel Rivadeneyra'sBiblioteca de autores españoles, vol. xlii., pp. 510-511.[131]Cervantes's praise of the Maestro Córdoba is confirmed by Lope de Vega in theLaurel de Apolo(silva iv.):—Hoy á las puertas de su templo llamaUna justa memoria,Digna de honor y gloria,Antes que pase el alto Guadarrama,Que mi maestro Córdoba me ofrece,Y las musas latinas me dan voces,Pues con tan justa causa la merece.[132]Francisco Díaz, lecturer on philosophy and medicine at the University of Alcalá de Henares, published aCompendio de Cirujia(Madrid, 1575). In 1588 Cervantes contributed a complimentary sonnet to Díaz' treatise on kidney disease:Tratado nuevamente impreso acerca de las enfermedades de los riñones. The occasion is certainly singular. It does not seem that Díaz himself published any verse.[133]No trace of Luján's writings has, to my knowledge, been discovered. It seems unlikely that Cervantes can refer to the Pedro de Luján whoseColoquios matrimonialeswere published at Seville as early as 1550: see Gallardo,op. cit., vol. iii., col. 553.[134]A prefatory sonnet by Juan de Vergara is found in López Maldonado'sCancionero: see note 23.[135]It may be to this writer that Agustín de Rojas Villandrando alludes in theViaje entretenido(1603):—De los farsantes que han hechofarsas, loas, bayles, letrasson Alonso de Morales,Grajales, Zorita Mesa, etc.Two romances by an Alonso de Morales are given in Rivadeneyra, vol. xvi., p. 248.[136]This prophecy has not been fulfilled: Hernando Maldonado's writings appear to be lost.[137]Lope de Vega also finds place in theLaurel de Apolo(silva iii.) forAquel ingenio, universal, profundo,El docto Marco Antonio de la Vega,Ilustre en verso y erudito en prosa.[138]This can scarcely refer to the famous diplomatist who died in 1575. Possibly Cervantes may have alluded here to Captain Diego de Mendoza de Barros, two of whose sonnets are included in Pedro Espinosa's collection entitledFlores de poetas ilustres de España(1605). The sonnet on f. 65—"Pedís, Reyna, un soneto, ya lo hago—"may have served as Lope de Vega's model for the celebrated Sonnet on a Sonnet inLa Niña de plata. A still earlier example in this kind was given by Baltasar del Alcázar: see note 43. For French imitations of this sonnet, see M. Alfred Morel-Fatio's article in theRevue d'Histoire littéraire de la France(Paris, July 15, 1896), pp. 435-439. See also Father Matthew Russell'sSonnets on the Sonnet(London, 1898), and a note in Sr. D. Adolfo Bonilla y San Martín's Castilian version of myHistory of Spanish Literature(Madrid, 1901), p. 344.[139]Diego Durán contributed a prefatory poem to López Maldonado'sCancionero: see note 23. Casiano Pellicer conjectured that Durán figures in theGalateaas Daranio: see theIntroductionto the present version, p. xlviii,n.2.[140]López Maldonado seems to have been on very friendly terms with Lope de Vega and, more especially, with Cervantes. InDon Quixote(Part I., chap. vi), the latter writes:—"es grande amigo mio." Lope and Cervantes both contributed prefatory verses to López Maldonado'sCancionero(1586) of which the Priest expressed a favourable opinion when examining Don Quixote's library:—"it gives rather too much of its eclogues, but what is good was never yet plentiful: let it be kept with those that have been set apart."[141]Luis Gálvez de Montalvo is best remembered as the author of the pastoral novel,El Pastor de Fílida(1582); see theIntroductionto the present version, pp. xxvi and xxxi.[142]Pedro Liñán de Riaza's poems have been collected in the first volume of theBiblioteca de escritores aragoneses(Zaragoza, 1876). Concerning some supplementary pieces, omitted in this edition, see Professor Emilio Teza,Der Cancionero von Neapel, inRomanische Forschungen(Erlangen, 1893), vol. vii., pp. 138-144. Sr. D. Adolfo Bonilla y San Martín conjectures that Liñán de Riaza may have had some part in connection with Avellaneda's spurious continuation ofDon Quixote: see the elaborate note in his Castilian version of myHistory of Spanish Literature(Madrid, 1901), pp. 371-374.[143]Alonso de Valdés wrote a prologue in praise of poetry to Vicente Espinel'sDiversas rimas: see note 46.[144]Pedro de Padilla and Cervantes were on excellent terms: "es amigo mio," says the latter inDon Quixote(Part I., chap. vi). Cervantes contributed complimentary verses to Padilla'sRomancero(1583), to hisJardín espiritual(1585), and to his posthumousGrandezas y Excelencias de la Virgen(1587). Padilla died in August 1585, shortly after the publication of theGalatea: hisRomancerohas been reprinted (1880) by the Sociedad de Bibliófilos españoles.[145]I have met with no other allusion to Gaspar Alfonso.[146]Theheróicos versosof Cristóbal de Mesa are of no remarkable merit. Besides translations of Virgil, and the tragedyPompeyo(1615), he publishedLas Navas de Tolosa(1594),La Restauración de España(1607), theValle de lágrimas(1607), andEl Patrón de España(1611).[147]Many Riberas figure in the bibliographies, but apparently none of them is named Pedro.[148]Benito de Caldera's translation of Camões'sLusiadaswas issued at Alcalá de Henares in 1580. Láinez, Garay, Gálvez de Montalvo, and Vergara—all four eulogized in thisCanto de Calíope—contributed prefatory poems.[149]Besides a well-knownglosaon Jorge Manrique'sCoplas, Francisco de Guzmán published theTriumphos Moralesand theDecretos de Sabiosat Alcalá de Henares in 1565.[150]This stanza is supposed by Barrera to refer to Juan de Salcedo Villandrando who wrote a prefatory sonnet for Diego d'Avalós y Figueroa'sMiscelánea austral(Lima, 1602).[151]This Tomás Gracián Dantisco was the grandson of Diego García,camarero mayorat the court of the Catholic Kings, and son of Diego Gracián de Alderete, Secretary of State and official Interpreter during the reigns of Charles V. and Philip II. The latter studied at the University of Louvain where his name was wrongly Latinized as Gratianus (instead of Gracianus), and, on his return to Spain, he adopted the form Gracián. He married a daughter of Johannes de Curiis, called (from his birthplace) Dantiscus, successively Bishop of Culm (June, 1530) and of West Ermeland (January, 1538), and Polish ambassador at the court of Charles V.: see Leo Czaplicki,De vita et carminibus Joannis de Curiis Dantisci(Vratislaviae, 1855). Some of Diego Gracián de Alderete's letters are included by Sr. D. Adolfo Bonilla y San Martín in his very interesting collection entitledClarorum Hispaniensium epistolae ineditae(Paris, 1901), printed in theRevue Hispanique(Paris, 1901), vol. viii., pp. 181-308.Tomás Gracián Dantisco succeeded his father as official Interpreter, and published anArte de escribir cartas familiares(1589). His brother, Lucás Gracián Dantisco, signed theAprobaciónto theGalatea: see theIntroductionto the present version, p. x,n.4. Another brother, Antonio Gracián Dantisco, secretary to the King, was a good Greek scholar. He translated a treatise by Hero of Alexandria under the titleDe los Pneumaticos, ó machuinas que se hazen por atraccion de vacio. The manuscript has apparently disappeared; but it existed as late as the time of Nicolás Antonio (Bibliotheca Hispana, Romae, 1672, vol. i., p. 98). See also Charles Graux'Essai sur les origines du fonds grec de l'Escurial(Paris, 1880), which forms the 46thfasciculeof theBibliothèque de l'École des Hautes Etudes, and an interesting note by M. Alfred Morel-Fatio in theBulletin hispanique(Bordeaux, 1902), vol. iv., p. 282.[152]In theDorotea(Act iv. sc. ii.) Lope de Vega speaks of "Bautista de Vivar, monstruo de naturaleza en decir versos de improviso con admirable impulso de las musas"; but Vivar's merits must be taken on trust, for his writings have not been printed. A certain Vivar, author of some versesá lo divino, is mentioned by Gallardo (op. cit., vol. i., col. 1023), but no specimens are given from the manuscript which was in existence as late as November 1, 1844.The phrase—monstruo de naturaleza—applied by Lope to Vivar was applied by Cervantes to Lope in the preface to hisOcho Comedias y ocho entremeses nuevos(Madrid, 1615). It occurs also in Lope'sHermosa Ester, the autograph of which, dated April 5, 1610, is in the British Museum Library, Egerton MSS. 547. Mr. Henry Edward Watts (Miguel de Cervantes, his life & works, London, 1895, p. 109) contends that Cervantes uses the expression "in bad part" (i.e. in a sense derogatory to Lope), and cites as a parallel case the employment of it inDon Quixote(Part I. chap. xlvi) where Sancho Panza is described as "monstruo de naturaleza, almario de embustes, silo de bellaquerías, inventor de maldades, publicador de sandeces," and so forth. The wordsmonstruo de naturalezaare, no doubt, open to two interpretations. It is, however, inconceivable that Cervantes would offer so gross an insult to his successful rival as is thus imputed to him. In his bickerings with Lope, Cervantes may sometimes forget himself, as will happen to the best of men at times; but such vulgarity as this is absolutely unlike him. It may be as well to note that the expression—monstruo de naturaleza—was current as a compliment long before either Cervantes or Lope used it; it will be found in Pedro de Cáceres y Espinosa's preliminaryDiscursoto the poems of Gregorio Silvestre published in 1582.Students of Spanish literary history will remember that Vivar's name was introduced by one of the witnesses who appeared against Lope de Vega when the latter was prosecuted for criminal libel at the beginning of 1588. Luis Vargas de Manrique (mentioned in note 8) was reported by this witness as saying that, on the internal evidence, one of the scandalous ballads which formed the basis of the charge might be attributed to four or five different persons: "it may be by Liñán (mentioned in note 25) who is not here, or by Cervantes, and he is not here, and, since it is not mine, it may be by Vivar, or by Lope de Vega, though Lope de Vega, if he had written it, would not so malign himself." See theProceso de Lope de Vega por libelo contra unos cómicos(Madrid, 1901) by the Sres. Tomillo and Pérez Pastor.[153]Baltasar de Toledo's writings have not been traced.[154]Lope Félix de Vega Carpio was born at Madrid on November 25, 1562, and died there on August 27, 1635. A soldier, a poet, a novelist, a dramatist, and a priest, he ranks next to Cervantes in the history of Spanish literature. It is impossible to give any notion of his powers within the compass of a note. According to Pérez de Montalbán, Lope was the author of 1800 plays and 400autos: some 400 plays and some 50autossurvive, apart from innumerable miscellaneous works. Lope'sObras completasare now being issued by the Royal Spanish Academy under the editorship of Sr. D. Marcelino Menéndez y Pelayo, and each succeeding volume—thirteen quarto volumes have already been issued to subscribers—goes to justify his immense reputation. A short summary of his dramatic achievement is given in my lecture onLope de Vega and the Spanish Drama(Glasgow and London, 1902); for fuller details of this amazing genius and his work see Professor Hugo Albert Rennert's admirable biography (Glasgow, 1903).[155]Francisco Pacheco, uncle of the author of theArte de la pintura, was born in 1535 and died in 1599. Some specimens of his skill in writing occasional Latin verses are extant in Seville Cathedral—of which he was a canon. A Latin composition from the same pen will be found in Herrera's edition of Garcilaso, for which see note 39.[156]Fernando de Herrera, the chief of the Seville school of poets, was born in 1534 and died in 1597. Herrera, who was a cleric but not a priest, dedicated many of his poems (1582) to the Condesa de Gelves, and there is interminable discussion as to whether these verses are to be taken in a Platonic sense, or not. Besides being a distinguished lyrical poet, Herrera proved himself an excellent critic in theAnotacionesin his edition of Garcilaso de la Vega (1580). This commentary was the occasion of a clever, scurrilous attack, circulated under the pseudonym of Prete Jacopín, by Juan Fernández de Velasco, Conde de Haro, who resented the audacity of an Andaluz in presuming to edit a Castilian poet. Haro evidently thought that invective was an ornament of debate, for inObservación XI.he calls his opponentydiotíssimo, and inObservación XXVII.he calls Herrera an ass: "sois Asno y no León."Cervantes was a great admirer of Herrera whose death he commemorated in a sonnet. Moreover, he wove into the short dedication of the First Part ofDon Quixote(to the Duque de Béjar) phrases borrowed from the dedication in Herrera's edition of Garcilaso: see vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.[157]Thatel culto Cangashad a high reputation appears from the allusion in theRestauración de España(lib. x. est. 108) of Cristóbal de Mesa who also dedicated a sonnet to him in theRimas(Madrid, 1611), f. 230.[158]Two sonnets by Cristóbal de Villaroel are given in Espinosa'sFlores de poetas ilustres de España(1605). This extremely rare work, together with the supplementaryFlores(1611) gathered by Juan Antonio Calderón, has been edited with great skill by Sr. D. Francisco Rodríguez Marín who, fortunately for students, undertook to finish the work begun by Sr. D. Juan Quirós de los Ríos. Two additional sonnets by Villaroel precede Enrique Garcés's rendering of Petrarch: see note 68.[159]Francisco de Medina was born at Seville about 1550 and died there in 1615. This pleasing poet was of great assistance to Herrera in the work of editing Garcilaso. Herrera's edition, which includes examples of Medina's verse, also contains a preface by Medina which was utilized by Cervantes in the dedication of theFirst Part of Don Quixote: see note 39 and vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.[160]Baltasar del Alcázar was born in 1540 and died in 1606. His graceful, witty poems were reissued in 1878 by the Sociedad de Bibliófilos Andaluces. Alcázar's Sonnet on a Sonnet (see note 21) lacks a line in the version printed by Gallardo,op. cit., vol. i., col. 75.[161]Cristóbal Mosquera de Figueroa was born in 1553 and died in 1610. He is best known as the author of aComentario en breve compendio de disciplina militar(Madrid, 1596) for which Cervantes wrote a sonnet on the famous Marqués de Santa Cruz. Specimens of Mosquera de Figueroa's verse are to be found in Herrera's edition of Garcilaso.[162]The Sevillian priest, Domingo de Becerra, as appears from Fernández de Navarrete'sVida de Cervantes Saavedra(Madrid, 1819, pp. 386-387), was a prisoner in Algiers with Cervantes, and was ransomed at the same time as the latter. Becerra was then (1580) forty-five years of age. He translated Giovanni Della Casa'sIl Galateo, and published his version at Venice in 1585.[163]Vicente Espinel was born in 1550 and is conjectured to have died between 1624 and 1634. He is said to have added a fifth string to the guitar, and to have introducedespinelas: "perdónesele Dios," is Lope's comment in theDorotea(act. i. sc. vii.). Espinel'sDiversas rimas(1591) are now only known to students; but his picaresque novel,Marcos de Obregón(Madrid, 1618), still finds, and deserves to find, many readers. In the 1775 edition of theSiècle de Louis XIV.Voltaire alleged thatGil Blaswas "entièrement pris du roman espagnolLa Vidad de lo Escudiero Dom Marcos d'Obrego." It will be observed that, in transcribing the title, Voltaire makes almost as many mistakes as the number of words allows. His statement is a grotesque exaggeration, but it had the merit of suggesting a successful practical joke to José Francisco de Isla. This sly wag translatedGil Blasinto Spanish, mischievously pretending that the book was thus "restored to its country and native language by a jealous Spaniard who will not allow his nation to be made fun of." Unluckily, the naughty Jesuit did not live to see the squabbles of the learned critics who fell into the trap that he had baited for them. It is, by the way, a curious and disputed point whether the Comte de Neufchâteau's celebratedExamen de la question de savoir si Lesage est l'auteur de Gil Blas ou s'il l'a pris de l'espagnol(1818) was, or was not, taken word for word from a juvenile essay by Victor Hugo: seeVictor Hugo raconté par un témoin de sa vie(Bruxelles and Leipzig, 1863), vol. i., p. 396. In theAdjunta al ParnasoCervantes calls Espinel "uno de los más antiguos y verdaderos amigos que yo tengo." In hisRimasEspinel had been most complimentary to Cervantes. But Pellicer and Fernández de Navarrete have spoken harshly of him for being (as they imagined) jealous of the success ofDon Quixote; and Mr. Henry Edward Watts (op. cit., p. 157,n.1) asserts that Espinel "took occasion after Cervantes' death to speak of his ownMarcos de Obregón... as superior toDon Quixote." This is not so. There may be authors who suppose that their immortal masterpieces are superior to the ephemeral writings of everybody else: but they seldom say this—at least, in print. Nor did Espinel. It must suffice, for the moment, to note that the above-mentioned fable is mainly based on the fact that the Gongoresque poet and preacher, Hortensio Félix Paravicino y Arteaga, wrote as follows in hisAprobación to Marcos de Obregón: "El Libro del Escudero, que escriuio el Maestro Espinel, y V. M. me manda censurar, he visto, y no hallo en el cosa que se oponga à nuestra santa Fè Catolica Romana, ni ofenda à la piedad de las buenas costumbres della, antes de los libros deste género, que parece de entretenimiento comun, es el que con más razón deue ser impreso, por tener el prouecho tan cerca del deleyte, que sin perjudicar enseña, y sin diuertir entretiene: el estilo, la inuencion, el gusto de las cosas, y la moralidad, que deduze dellas, arguyen bien la pluma que la ha escrito, tan justamente celebrada en todas naciones. A mi alomenos de los libros deste argumento me parece la mejor cosa que nuestra lengua tendrà, y que V.m. deue darle vna aprouacion muy honrada. Guarde nuestro Señor à V. M."It is Paravicino, not Espinel, who speaks: and the eulogistic phrases which he uses do not exceed the limits of the recognized convention on such occasions.[164]Jerónimo Sánchez de Carranza was introduced to England by Ben Jonson as an authority on honour and arms. Bobadil, inEvery Man in his humour(Act 1, sc. 4) says:—"By the foot of Pharaoh, an' 'twere my case now I should send him a chartel presently. The bastinado, a most proper and sufficient dependence, warranted by the great Carranza." Carranza wrote thePhilosophia y destreza de las armas(Sanlúcar de Barrameda, 1582); a later treatise, theLibro de las grandezas de la espada(Madrid, 1600) was issued by the counter-expert of the next generation, Luis Pacheco de Narváez. I need scarcely remind most readers that Pacheco de Narváez, the famous fencing-master, was ignominiously disarmed by Quevedo—an incomparable hand with the foil, despite his lameness and short sight. Pacheco naturally smarted under the disgrace, and seems to have shown his resentment in an unpleasant fashion whenever he had an opportunity. The respective merits of Carranza and Pacheco divided Madrid into two camps. Literary men were prominent in the fray. Suárez de Figueroa, Vélez de Guevara, and Ruiz de Alarcón declared for Pacheco. Among Carranza's partisans were Luis Mendoza de Carmona and, as might be expected, Quevedo who mentions theLibro de las grandezas de la espadain hisHistoria de la vida del Buscón(lib. i. cap. viii.).[165]Two sonnets by Lázaro Luis Iranzo are given in Rivadeneyra,op. cit., vol. iv., pp. 180, 364.[166]Baltasar de Escobar is represented in Espinosa'sFlores de poetas ilustres: a complimentary letter addressed by Escobar to Cristóbal de Virués is printed in Rivadeneyra,op. cit., vol. lxii., p. 37.[167]A sonnet on the sack of Cádiz by Juan Sanz de Zumeta is given in Juan Antonio Pellicer's edition ofDon Quixote(Madrid, 1797-1798), vol. i., p. lxxxvi.[168]The correct, full form of this writer's name seems to be Juan de la Cueva de Garoza. He is conjectured to have been born in 1550 and to have died in 1609. This interesting dramatist was among the most distinguished of Lope de Vega's immediate predecessors, and in such plays asEl Cerco de Zamorahe comes near anticipating Lope's methods. In hisExemplar poético(1609) Cueva declares that he was the first to bring kings upon the stage, an innovation that was censured at the time:—A mi me culpan de que fuí el primeroque Reyes y Deydades di al teatrode las Comedias traspasando el fuero.Evidently Cueva did not know that Torres Naharro introduces a king in hisAquilana. A reprint of Cueva's plays is urgently needed: his purely poetic work is of slight value. An edition ofEl Viage de Sannio, with an admirable Introduction by Professor Fredrik Amadeus Wulff will be found in theActa Universitatis Lundensis(Lund, 1887-1888), (Philosophi, Språkvetenskap och Historia), vol. xxiii.[169]Nothing by Adán Vivaldo has survived, apparently. Cervantes assigns this surname to a minor character inDon Quixote(Part I., chap. xiii.).[170]It would be interesting to know how far this panegyric on Juan Aguayo was justified. I have failed to find any information concerning him or his works.[171]The dates of the birth and death of the Cordoban poet, Juan Rufo Gutiérrez, are given conjecturally as 1530 and 1600. Cervantes esteemed Rufo'sAustriadainordinately: see note 2. In truth theAustriadais a tedious performance, being merely a poor rhythmical arrangement of Diego Hurtado de Mendoza'sGuerra de Granada. Mendoza's history was not published till 1627, long after the author's death (1575). It was issued at Lisbon by Luis Tribaldos de Toledo who, in the previous year, had brought out a posthumous edition of the poems of Francisco de Figueroa—the Tirsi of theGalatea. Evidently, then, Rufo read theGuerra de Granadain manuscript: see M. Foulché-Delbosc's article in theRevue hispanique(Paris, 1894), vol. i., pp. 137-138,n.[172]Luis de Góngora y Argote was born in 1561 and died in 1627. His father, Francisco de Argote, was Corregidor of Córdoba, and it has been generally stated that the poet assumed his mother's maiden name. However, the Sra. Doña Blanca de los Ríos y de Lampérez alleges that Góngora's real name was Luis de Argote y Argote: see an article entitledDe vuelta de Salamanca in La España moderna(Madrid, June 1897). I do not know precisely upon what ground this statement is made. Despite the perverse affectations into which hisculteranismoled him, Góngora is one of the most eminent Spanish poets, and unquestionably among the greatest artists in Spanish literature. A passage in theViaje del Parnaso(cap. vii.) seems to imply that Cervantes admired Góngora's very obscure work, thePolifemo:—De llano no le déis, dadle de corte,Estancias Polifemas, al poetaQue no os tuviere por su guía y norte.Inimitables sois, y á la discretaGala que descubrís en lo escondidoToda elegancia puede estar sujeta.M. Foulché-Delbosc has in preparation a complete edition of Góngora's works.[173]Barrera conjectures that this Gonzalo Cervantes Saavedra may be the author of a novel entitledLos Pastores del Betis, published at Trani in 1633-4. I do not know this work, which may have been issued posthumously. It seems unlikely that Gonzalo Cervantes Saavedra began novel-writing when over seventy years old: for we may take it that he was over twenty when his namesake praised him, as above, in 1585.[174]Gonzalo Gómez de Luque wrote theLibro primero de los famosos hechos del príncipe Don Celidon de Iberia(Alcalá de Henares, 1583); but the only works of his with which I am acquainted are the verses in Padilla'sJardín espiritualand López Maldonado'sCancionero: see notes 27 and 23.[175]Two sonnets by Gonzalo Mateo de Berrío are included in Espinosa'sFlores de poetas ilustres. Espinel refers to him in the preface toMarcos de Obregón: Lope mentions him in theLaurel de Apolo(silva ii.) and in theDorotea(Act iv., sc. ii.) Berrío signed theAprobaciónto Cairasco de Figueroa'sTemplo militante: see note 73.[176]Luis Barahona de Soto was born in 1548 at Lucena (Lucena de Córdoba and not Lucena del Puerto, as Barrera supposed). After some wanderings he settled at Archidona where he practised medicine. He is said to have diedab intestatoon November 6, 1595. A complimentary sonnet by him appears in Cristóbal de Mesa'sRestauración de España(Madrid, 1607): it would seem, therefore, that Mesa'sRestauraciónmust have been in preparation for at least a dozen years. Some verses by Barahona de Soto are given in Espinosa'sFlores de poetas ilustres: four of his satires, and hisFábula de Acteónare printed in Juan José López de Sedano'sParnaso Español(Madrid, 1768-1778), vol. ix., pp. 53-123. Barahona de Soto's best known work isLa primera parte de la Angélica(Granada, 1586) which, in the colophon, has the alternative title ofLas lágrimas de Angélica. There is a famous allusion to this work inDon Quixote(Part I., chap. vi.):—"I should have shed tears myself," said the curate when he heard the title, "had I ordered that book to be burned, for its author was one of the famous poets of the world, not to say of Spain, and was very happy in the translation of some of Ovid's fables." As Mr. Ormsby observed:—"The anti-climax here almost equals Waller's:—'Under the tropic is our language spoke,And part of Flanders hath received our yoke'."See vol. iii. of the present edition (Glasgow, 1901), p. 53,n.3. It has often been questioned whether Barahona de Soto ever wrote a Second Part of theAngélica. Since the publication of theDiálogos de la Montería(Madrid, 1890) by the Sociedad de Bibliófilos Españoles, under the editorship of Sr. D. Francisco R. de Uhagón, it seems practically certain that he at all events began the Second Part, if he did not finish it. TheDiálogos de la Montériacontain numerous passages quoted from the Second Part; and in a biographical, bibliographical and critical study, which Sr. D. Francisco Rodríguez Marín is now correcting for the press, it will be shown that Barahona de Soto was, in all probability, himself the author of theseDiálogos.[177]A sonnet by Francisco de Terrazas figures in Pedro Espinosa'sFloresta de poetas ilustres de España: three more sonnets by Terrazas will be found in Gallardo, vol. i.,op. cit., cols. 1003-1007.[178]Barrera does not help us to discover anything of Martínez de Ribera, who may have published in the Indies.[179]Barrera vaguely infers from the text that Alonso Picado was a native of Peru.[180]Alonso de Estrada is conjectured by Barrera to have been born in the Indies.[181]Nothing seems to be known of Avalos y de Ribera.[182]I have never met with any of Sancho de Ribera's writings: a sonnet to him is found among Garcés's translations from Petrarch: see note 68.[183]A sonnet by Pedro de Montesdoca,El Indiano, is prefixed to Vicente Espinel'sDiversas rimas(1591).[184]A sonnet by Diego de Aguilar precedes Garcés's translation of Camões'sLusiadas: see note 68. I presume him to be the author of another prefatory sonnet in López Maldonado'sCancionero.[185]No information is forthcoming as to Gonzalo Fernández de Sotomayor or his works.[186]Henrique Garcés publishedLos sonetos y canciones del Poeta Francisco Petrarcha(Madrid, 1591), andLos Lusiadas de Luys de Camoes(Madrid, 1591).[187]Thevena inmortalof Rodrigo Fernández de Pineda does not seem to have expressed itself in print.[188]The name of Juan de Mestanza recurs in theViaje del Parnaso(cap. vii.).[189]An American, so Barrera thinks: there is no trace of his writings.[190]Another American, according to Barrera; there is no trace of his writings either.[191]Bartolomé Cairasco de Figueroa was born at the Canaries in 1540, became Prior of the Cathedral there, and died in 1610. HisTemplo militante, flos santorum, y triumphos de sus virtudeswas issued in four parts: (Valladolid, 1602), (Valladolid, 1603), (Madrid, 1609), and (Lisbon, 1614). Selections are given in Juan José López de Sedano'sParnaso español(Madrid, 1768-1778), vol. v., pp. 332-363, and vol. vi., pp. 191-216. Cairasco de Figueroa wrote a prefatory poem to Carranza'sLibro de las grandezas de la espada: see note 47. According to the Spanish annotators of Ticknor'sHistory, Cairasco left behind him a version (unpublished) of Ariosto'sGerusalemme.[192]Barrera states that a sonnet by Damián de Vega is prefixed to Juan Bautista de Loyola'sViaje y naufragios del Macedonio(Salamanca, 1587). I do not know this work.[193]The celebrated scholar, Francisco Sánchez, usually calledEl Brocensefrom his native place, was born at Las Brozas (Extremadura) in 1523, became professor of Greek and Rhetoric at Salamanca, and died in 1601. He edited Garcilaso (Salamanca, 1581), Juan de Mena (Salamanca, 1582), Horace (Salamanca, 1591), Virgil (Salamanca, 1591), Politian'sSilvae(Salamanca, 1596), Ovid (Salamanca, 1598), Persius (Salamanca, 1599). To these should be added theParadoxa(Antwerp, 1582), and a posthumous commentary on Epictetus (Pamplona, 1612).A Practical Grammar of the Latin Tongue, based on Sánchez, was published in London as recently as 1729.El Brocensewas prosecuted by the Inquisition in 1584, and again in 1588. The latter suit was still dragging on when Sánchez died. See theColección de documentos inéditos para la historia de España(Madrid, 1842, etc.), vol. ii., pp. 5-170.[194]The lawyer Francisco de la Cueva y Silva was born at Medina del Campo about 1550. His verses appear in Pedro Espinosa'sFlores de poetas ilustres de España; he wrote a prefatory poem for Escobar Cabeza de Vaca'sLuzero de la tierra sancta, and is said to be the author of a play entitledEl bello Adonis. Lope de Vega'sMal Casadais dedicated to Cueva whose high professional reputation may be inferred from the closing lines of a well-known sonnet by Quevedo:—Todas las leyes, con discurso fuerteVenció; y ansí parece cosa nueva,Que le vinciese, siendo ley, la muerte.Cueva is mentioned, together with Berrío (see note 58), in theDorotea(Act. iv. sc. ii.): "Don Francisco de la Cueva, y Berrío, jurisconsultos gravísimos, de quien pudiéramos decir lo que de Dino y Alciato, interpretes consultísimos de las leyes y poetas dulcísimos, escribieron comedias que se representaron con general aplauso."[195]The famous mystic writer and poet Luis Ponce de León was born at Belmonte (Cuenca) in 1527, joined the Augustinian Order in 1544, and was appointed professor of theology at Salamanca in 1561. He became involved in an academic squabble and was absurdly suspected of conspiring with the professors of Hebrew, Martín Martínez de Cantalapiedra and Juan Grajal, to interpret the Scriptures in a rabbinical sense. A plot seems to have been organized against him by Bartolomé de Medina, and, perhaps, by León de Castro, the professor of Greek at Salamanca. Luis de León was likewise accused of having translated theSong of Songsin the vernacular, and it has hitherto been thought that this charge told most heavily against him in the eyes of the Holy Office. It now appears that the really damaging accusation in the indictment referred to the supposed heterodoxy of Fray Luis's views as to the authority of the Vulgate: see a learned series of chapters entitledFray Luis de León; estudio biográfico y críticopublished by the Rev. Father Francisco Blanco García (himself an Augustinian monk) inLa Ciudad de Dios(from January 20, 1897 onwards, at somewhat irregular intervals). Luis de León was arrested in March 1572 and imprisoned till December 1576, when he was discharged as innocent. In 1579 he was appointed to the chair of Biblical History at Salamanca, his chief competitor being Fray Domingo de Guzmán, son of the great poet Garcilaso de la Vega. In 1582 Fray Luis was once more prosecuted before the Inquisition because of his supposed heterodoxy concerning the questionde auxiliis: see theSegundo proceso instruído por la Inquisición de Valladolid contra Fray Luis de León(Madrid, 1896), annotated by the Rev. Father Francisco Blanco García. In 1591 Fray Luis was elected Provincial of the Augustinian Order: he died ten days later. While in jail he wrote what is, perhaps, the noblest mystic work in the Spanish language,Los Nombres de Cristo, the first two books of which were published in 1583—the complete work (including a third book) being issued in 1585. In 1583 also appeared hisPerfecta casada. Fray Luis, in a fortunate hour for mankind, edited the writings of Santa Teresa, rescuing from the rash tamperings of blunderers works which he instantly recognized as masterpieces. His verses were published by Quevedo in 1631: they at once gave Fray Luis rank as one of the great Spanish poets, though he himself seems to have looked upon them as mere trifles.[196]Matías de Zúñiga, whose genius Cervantes here declares to have been divine, does not appear to have published anything.[197]Certain poems ascribed to Damasio de Frías are given by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vols. ii. and vii.[198]Barrera merely states that Andrés Sanz del Portillo resided in Castilla la Vieja: his writings have not reached us.[199]Possibly this writer may be identical with the Pedro de Soria who contributed a sonnet to Jerónimo de Lomas Cantoral'sObras: see note 83.[200]TheObrasof Jerónimo de Lomas Cantoral appeared at Madrid in 1578. They include translations of threecanzoniby Luigi Tansillo.[201]Jerónimo Vaca y de Quiñones contributed a sonnet to Pedro de Escobar Cabeza de Vaca'sLuzero de la tierra sancta, y grandezas de Egypto, y monte Sinay(Valladolid, 1587): see note 77.[202]Lupercio Leonardo de Argensola was born in 1559, and died in 1613 at Naples, whither he had accompanied the Conde de Lemos three years earlier. His admirable poems, and those of his brother, were issued posthumously in 1634: see note 86. HisIsabela,FílisandAlejandraare praised inDon Quixoteas "three tragedies acted in Spain, written by a famous poet of these kingdoms, which were such that they filled all who heard them with admiration, delight, and interest, the ignorant as well as the wise, the masses as well as the higher orders, and brought in more money to the performers, these three alone, than thirty of the best that have since been produced": see vol. iv. of the present edition (Glasgow, 1901), p. 214. TheFílisseems to be lost. TheIsabelaandAlejandra, neither of them very interesting, were first published in 1772 by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vol. vi., pp. 312-524. There may be a touch of friendly exaggeration in Cervantes's account of their success on the boards. At all events, the author of these pieces soon abandoned the stage, and, when the theatres were closed on the death of the Queen of Piedmont, he was prominent among those who petitioned that the closure might be made permanent. A Royal decree in that sense was issued on May 2, 1598. In the following year Lupercio Leonardo de Argensola was appointed chief chronicler of Aragón. TheIsabelaandAlejandraare reprinted in the first volume of the Conde de la Viñaza's edition of the Argensolas'Poesías sueltas(Madrid, 1889).[203]Bartolomé Leonardo de Argensola was born in 1562 and died in 1631. He took orders, became Rector of Villahermosa, and succeeded his brother as official chronicler of Aragón. He published theConquista de las Islas Malacas(Madrid, 1609), and theAnales de Aragón(Zaragoza, 1631)—the latter being a continuation of Jerónimo de Zurita'sAnales de la Corona de Aragón(1562-1580). The poems of both brothers were issued by Lupercio's son, Gabriel Leonardo de Albión, in a volume entitledLas Rimas que se han podido recogerde Lupercio, y del Doctor Bartolomé Leonardo de Argensola(Zaragoza, 1634). Lope de Vega had a great esteem for the Argensolas whose polished diction, rare in men of Aragonese birth, he regarded as an antidote to the extravagances—thefrases horribles, as he says—ofculteranismo. The very considerable merits of the Argensolas were likewise appreciated by Cervantes who, however, seems to have cooled somewhat towards the brothers when the Conde de Lemos, on his appointment as Viceroy of Naples, attached them to his household. It is said that Cervantes himself hoped to form part of Lemos's suite, and that he was annoyed with the Argensolas for not pushing his claims as vigorously as he expected of them. At this distance of time, it is impossible for us to know what really happened; but a passage in theViaje del Parnaso(cap. iii.) does appear to imply that Cervantes had a grievance of some kind against the Argensolas:—Que no sé quien me dice, y quien me exhorta,Que tienen para mi, á lo que imagino,La voluntad, como la vista corta.[204]The writings of Cosme Pariente are unknown to Barrera, and to later bibliographers.[205]Diego Murillo was born at Zaragoza about 1555, joined the Franciscans, and became a popular preacher. He is the author of theInstruccion para enseñar la virtud á los principiantes(Zaragoza, 1598), theEscala espiritual para la perfección evangélica(Zaragoza, 1598), theVida y excelencias de la Madre de Dios(Zaragoza, 1610), and six volumes ofDiscursos predicables, published at Zaragoza and Lisbon between 1602 and 1611. The most accessible of Murillo's works are theFundación milagrosa de la capilla angélica y apostólica de la Madre de Dios del Pilar(Barcelona, 1616), and a volume entitledDivina, dulce y provechosa poesía(Zaragoza, 1616). His verse (some specimens of which are given in Böhl de Faber'sFloresta de rimas antiguas castellanas) is better than his prose, but in neither does he fulfil the expectations raised by Cervantes's compliments.[206]Juan Coloma, Conde de Elda, is responsible for aDécada de la Pasión de Jesu Christo(Cádiz, 1575).[207]Pedro Luis Garcerán de Borja is also introduced by Gil Polo in theCanto del Turia: see note 94. He held the appointment of Captain-General of Oran, where Cervantes may have met him: at the time of his death in 1592 he was Captain-General of Catalonia.[208]Alonso Girón y de Rebolledo is likewise introduced by Gil Polo in theCanto del Turia: see note 94. HisPasión de nuestro Señor Jesu Christo según Sanct Joan(Valencia, 1563) met with considerable success. It contains a complimentary sonnet by Gil Polo: in the following year Girón y de Rebolledo repaid the attention by contributing a sonnet to Gil Polo'sDiana enamorada.[209]Jaime Juan de Falcon, like Garcerán de Borja and Girón y de Rebolledo, figures in Gil Polo'sCanto del Turia: see note 94. He was born in 1522 and died in 1594, having (as he believed) squared the circle. Amongst other works he published theQuadratura circuli(Valencia, 1587): hisObras poéticas latinas(Madrid, 1600) appeared posthumously.[210]Andrés Rey de Artieda was born in 1549 and died in 1613. His youth was one of rare promise. Though not yet fourteen years old when Gil Polo wrote theDiana enamorada, he is introduced to us as a poet in theCanto del Turia:—y prometernos han sus tiernas floresfrutos entre los buenos los mejores.This phrase may have been in Cervantes's mind when writing of his own play,La Confusa: "la cual, con paz sea dicho de cuantas comedias de capa y espada hasta hoy se han representado, bien puede tener lugar señalado par buena entre las mejores" (see theAdjunta al Parnaso).Artieda graduated in arts at the University of Valencia in 1563, and studied later at Lérida and Tolosa, taking his degree as doctor of both civil and canonical law at the age of twenty. This brilliant academic success was receivedcon aplauso y pronósticos extraños, and a great future seemed to await him. However, he was something of a rolling stone. He practised for a short while at the bar, but abandoned the profession in disgust and entered the army. Here, again, he seemed likely to carry all before him. In his first campaign he was promoted at a bound to the rank of captain, but his luck was now run out. Like Cervantes, he received three wounds at Lepanto. He was present at the relief of Cyprus, and served under Parma in the Low Countries. His intrepidity was proverbial, and he is said to have swum across the Ems in midwinter, his sword gripped between his teeth, under the enemy's fire. These heroic feats do not appear to have brought him advancement, and, in theViaje del Parnaso(cap. iii.), Cervantes, who would seem to have known him personally, speaks of Artieda grown old as—Más rico de valor que de moneda.Artieda is said to have written plays entitledEl Príncipe vicioso,Amadís de Gaula, andLos Encantos de Merlín: he is the author of a mediocre tragedy,Los Amantes(Valencia, 1581) which may have been read by Tirso de Molina before he wroteLos Amantes de Teruel. Artieda published an anthology of his verses under the pseudonym of Artemidoro:Discursos, epístolas y epigramas de Artemidoro(Zaragoza, 1605). Some passages in this collection express the writer's hostility to the new drama, and betray a certain pique at the success of his former friend, Lope de Vega. Lope, however, praises Artieda very generously in theLaurel de Apolo(silva ii.).[211]Gaspar Gil Polo published theDiana enamoradaat Valencia in 1564. The Priest inDon Quixotedecided that it should "be preserved as if it came from Apollo himself": see vol. iii. of the present edition (Glasgow, 1901), p. 51. It is unquestionably a work of unusual merit in its kind, but some deduction must be made from Cervantes's hyperbolical praise: he evidently succumbed to the temptation of playing on the words Polo and Apollo.Gaspar Gil Polo is said by Ticknor to have been professor of Greek at Valencia. There was a Gil Polo who held the Greek chair in the University of that city between 1566 and 1574: but his name was not Gaspar. Nicolás Antonio and others maintain that the author of theDiana enamoradawas the celebrated lawyer, Gaspar Gil Polo, who appeared to plead before the Cortes in 1626. This Gaspar Gil Polo was a mere boy when theDiana enamoradawas issued sixty-two years earlier. He was probably the son of the author: see Justo Pastor Fuster,Biblioteca Valenciana de las escritores que florecieron hasta nuestros días(Valencia, 1827-1830), vol. i., pp. 150-155, and—more especially—Professor Hugo Albert Rennert,The Spanish Pastoral Romances(Baltimore, 1892), p. 31.As already stated in note 91, Gil Polo contributed a sonnet to Girón y de Rebolledo'sPasión, which appeared a year before theDiana enamorada. Another of his sonnets is found in Sempere'sCarolea(1560). In theSerao de Amor, Timoneda speaks of him as a celebrated poet; but, as we see from theCanto de Calíopeitself, these flourishes and compliments often mean next to nothing. It is somewhat strange that Gil Polo, who is said to have died at Barcelona in 1591, did not issue a sequel to hisDiana enamoradaduring the twenty-seven years of life which remained to him after the publication of the First Part in 1564. At the end of theDiana enamoradahe promised a Second Part as clearly as Cervantes, after him, promised a Second Part of theGalatea: "Las quales (fiestas) ... y otras cosas de gusto y de provecho están tratadas en la otra parte deste libro, que antes de muchos días, placiendo á Dios, será impresa." Gil Polo is believed to have been absorbed by his official duties as Maestre Racional of the Royal Court in the Kingdom of Valencia. HisCanto del Turia, inserted in the third book of theDiana enamorada, is one of the models—perhaps the chief model—of the presentCanto de Calíope. Cervantes follows Gil Polo very closely.[212]The dramatist, Cristóbal de Virués, was born in 1550 and died in 1610. Like Cervantes and Artieda, he fought at Lepanto. HisObras trágicas y líricas(Madrid, 1609) are more interesting than his somewhat repulsiveHistoria del Monserrate(Madrid, 1587-1588) which Cervantes praises beyond measure: see note 2.[213]I have failed to find any example of Silvestre de Espinosa's work.[214]García Romeo (the name is sometimes given as García Romero) appears to have escaped all the bibliographers.[215]Romeroin Spanish meansrosemary. A. B. W.[216]The Jeromite monk, Pedro de Huete, contributed a sonnet to theVersos espirituales(Cuenca, 1597) of the Dominican friar, Pedro de Encinas.[217]Pedro de Láinez joined with Cervantes in writing eulogistic verses for Padilla'sJardín espiritual: see note 27. Examples of his skill are given in Pedro Espinosa'sFlores de poetas ilustres de España(1605). Fernández de Navarrete, in his biography of Cervantes, states (p. 116) that Láinez died in 1605: he is warmly praised by Lope de Vega in theLaurel de Apolo(silva iv.).His widow, Juana Gaitán, lived at Valladolid in the same house as Cervantes and his family: she is mentioned, not greatly to her credit, in the depositions of some of the witnesses examined with reference to the death of Gaspar de Ezpeleta; but too much importance may easily be given to this tittle-tattle. Luisa de Montoya, a very respectable widow, corroborated the evidence of other witnesses who assert that the neighbours gossiped concerning the visits paid to Láinez's widow by the Duque de Pastrana and the Conde de Concentaina—"que venian a tratar de un libro que había compuesto un fulano Laynez, su primer marido."The contemptuous phrase—un fulano Laynez—would imply that Luisa de Montoya was not a person of literary tastes: she was, however, widow of the chronicler, Esteban de Garibay Zamalloa, author of theIlustraciones genealogicas de los catholicos reyes de las Españas, y de los christianissimos de Francia, y de los Emperadores de Constantinopla, hasta el Catholico Rey nuestro Señor Don Philipe el II y sus serenissimos hijos(Madrid, 1596). The words—su primer marido—which are likewise used by another witness (Cervantes's niece, Costanza de Ovando), might be taken, if construed literally, to mean that Láinez's widow had married again shortly after her husband's death: for the evidence was taken on June 29, 1605. But, apparently, the inference would be wrong. When examined in jail, to which she was committed with Cervantes and others, Juana Gaitán described herself as over thirty-five years of age, and as the widow of the late Pedro Láinez. She accounted for Pastrana's visits, which had given rise to scandal, by saying that she intended to dedicate to him two books by her late husband, and that Pastrana had merely called to thank her in due form. A reference to Pastrana in theViaje del Parnaso(cap. viii.) seems to suggest that Pastrana was a munificent patron:—Desde allí, y no sé cómo, fuí traídoAdonde ví al gran Duque de PastranaMil parabienes dar de bien venido;Y que la fama en la verdad ufanaContaba que agradó con su presencia,Y con su cortesía sobrehumana:Que fué nuevo Alejandro en la excelenciaDel dar, que satisfizo á todo cuantoPuede mostrar real magnificencia.It is a little unlucky that these works by Láinez, concerning the publication of which the author's zealous widow consulted Pastrana, should not after all have found their way into print. For details of the evidence in the Ezpeleta case, see Dr. Pérez Pastor'sDocumentos Cervantinos hasta ahora inéditos(Madrid, 1902), vol. ii., pp. 455-527.[218]Francisco de Figueroa,el Divino, was born at Alcalá de Henares in 1536 and is conjectured to have died as late as 1620. Very little is known of this distinguished poet. He is said to have served as a soldier in Italy where his verses won him so high a reputation that he was compared to Petrarch. He married Doña María de Vargas on February 14, 1575, at Alcalá de Henares, and travelled with the Duque de Terranova through the Low Countries in 1597. After this date he disappears. He is stated to have died at Lisbon, and to have directed that all his poems should be burned. Such of them as were saved were published at Lisbon in 1626 by Luis Tribaldos de Toledo. As noted in theIntroduction(p. xxxi.n.2) to the present version, Figueroa is the Tirsi of theGalatea. There is a strong family likeness between the poems of Figueroa and those of the Bachiller Francisco de la Torre, whose verses were issued by Quevedo in 1631. So marked is this resemblance that, as M. Ernest Mérimée has written:—"Un critique, que le paradoxe n'effraierait point, pourrait, sans trop de peine, soutenir l'identité de Francisco de la Torre et de Francisco de Figueroa." See his admirableEssai sur la vie et les œuvres de Francisco de Quevedo(Paris, 1886), p. 324.[219]Brasa, f., means red-hot coal. The word for 'charcoal' iscarbón, m.[220]The Spanish for 'letter' iscarta, f.; for a 'pack of cards'pliego de cartas, m.[221]i.e. a riddle. The Spanish is¿qué es cosa y cosa?a phrase equivalent to our 'What may this pretty thing be?'

FOOTNOTES:[117]As theCanto de Calíopeprofesses to deal solely with living poets—algunos señalados varones que en esta vuestra España viven, y algunos en las apartadas Indias á ella sujetas—the Diego Mendoza mentioned in the twentyfifth stanza cannot refer to the celebrated historian who died ten years before theGalateawas published. But the above lament for Meliso is unquestionably dedicated to his memory. The phraseel aprisco venecianois an allusion to Diego Hurtado de Mendoza's embassy in Venice (1539-1547). It is not generally known that Mendoza visited England as special Plenipotentiary in 1537-1538 with the object of arranging two marriages: one between Mary Tudor and Prince Luiz of Portugal, and one between Henry VIII. and Charles V.'s handsome, witty niece, Dorothea of Denmark (afterwards Duchess of Milan), who declined the honour on the ground that she had only one head. Mendoza's mission was a diplomatic failure: nor does he seem to have enjoyed his stay here. He was made much of, was banqueted at Hampton Court, and confessed that life in England was pleasant enough; but he sighed for Barcelona, and was glad to pass on to the Low Countries and thence to Venice. See theCalendar of State Papers (Spain), vol. v. J. F.-K.[118]Leiva's work would seem to have disappeared. In theCasa de Memoria, which forms part of theDiversas Rimas(1591), Espinel refers to an Alonso de Leiva in much the same terms as Cervantes uses here:—El ánimo gentil, el dulce llanto,El blando estilo, con que enternecidoDon Alonso de Leyva quando cantaA Venus enamora, á Marte espanta.[119]Alonso de Ercilla y Zúñiga was born at Madrid in 1533. He was page to Philip II at the latter's marriage with Mary Tudor in Winchester Cathedral. He sailed for South America in 1555, served against the Araucanos under García Hurtado de Mendoza, Marqués de Cañete, quarrelled with a brother officer named Juan de Pineda, was sentenced to death, reprieved at the last moment, and is said to have been exiled to Callao. Ercilla returned to Spain in 1562, bringing with him the First Part of his epic poem,La Araucana, which he had composed during his campaigns. The original draft was scribbled on stray pieces of paper and scraps of leather: "que no me costó después poco trabajo juntarlos." This First Part was published at Madrid in 1569: the Second Part appeared in 1578, and the Third in 1590. The author died, a disappointed man, in 1594. For a sound appreciation of his talent seeL'Araucana, poème épique por D. Alonso de Ercilla y Zúñiga. Morceaux choisis précedés d'une étude biographique et littéraire, suivis de notes grammaticales, et de versification et de deux lexiques(Paris, 1900) by M. Jean Ducamin. A critical edition ofLa Araucanaby the eminent Chilean scholar, Sr. D. José Toribio Medina, is in preparation.Cervantes expresses the highest opinion ofLa AraucanainDon Quixote(Part I., chap. vi.) where he brackets it with Rufo'sAustriadaand Virués'sMonserrate:—"These three books," said the curate, "are the best that have been written in Castilian in heroic verse, and they may compare with the most famous of Italy; let them be preserved as the richest treasures of poetry that Spain possesses."[120]Barrera believed that the reference is to Juan de Silva, Conde de Portalegre, afterwards Governor and Captain-General of the Kingdom of Portugal. A collection of his letters is said to be in the Biblioteca Nacional at Madrid: Silva is further stated to have revised the manuscript of Hurtado de Mendoza'sHistoria de la Guerra de Granada, first published (posthumously) by Luis de Tribaldos de Toledo at Lisbon in 1627. He certainly wrote the introduction to Tribaldos de Toledo's edition.Juan de Silva, Conde de Portalegre, is said by Jacques-Charles Brunet (Manuel du libraire et de l'amateur de livres, Paris, 1861-1880, vol. ii., col. 217) to be the author of a work entitledDell' unione del regno di Portogallo alla corona di Castiglia, istoria del Sig. Ieronimo di Franchi Conestaggio, gentilhuomo genovese(Genova, 1585). This volume was in Montaigne's library (see M. Paul Bonnefon's valuable contribution—La Bibliothèque de Montaigne—in theRevue d'Histoire littéraire de la France, Paris, 1895, vol. ii., pp. 344-345): so also was the Spanish version of López de Castanheda'sHistoria(M. Paul Bonnefon,op. cit., p. 362). A trace of both these works is observable in the 1595 edition of theEssais(liv. ii., chap. 21,Contre la fainéantise).[121]The soldier, Diego Santisteban y Osorio, is known as the author of a sequel to Ercilla'sAraucana: his fourth and fifth parts were published in 1597.[122]Barrera conjectures that the allusion is to Francisco Lasso de Mendoza who wrote a prefatory sonnet for Luis Gálvez de Montalvo'sPastor de Fílida: see note 24.[123]Barrera states that Diego de Sarmiento y Carvajal contributed verses to thePrimera parte de la Miscelánea austral de don Diego d'Avalós y Figueroa en varios coloquios(Lima, 1603). I have not seen this work.[124]Barrera fails to give any particulars of Gutierre Carvajal of whom, also, I find no trace in recent bibliographies.[125]Prefatory sonnets by the Toledan soldier, Luis de Vargas Manrique, are found in Cervantes'sGalateaand in López Maldonado'sCancionero, both published in 1585: see notes 23 and 34.[126]Francisco Campuzano practised medicine at Alcalá de Henares, Cervantes's birthplace. In 1585 he contributed to López Maldonado'sCancioneroand to Padilla'sJardín espiritual: another copy of his verses precedes Gracián Dantisco'sGalateo español(1594): see notes 23, 27, and 34.[127]Francisco Suárez de Sosa, a native of Medina del Campo, practised as a physician. Barrera states that Suárez de Sosa wroteDel arte como se ha de pelear contra los turcos(1549) andDe las ilustres mujeres que en el mundo ha habido; but I do not understand him to say that either of these works was printed. Barrera conjectures that Suárez de Sosa is introduced in theGalateaunder the name of Sasio.[128]Nothing seems to be known of Doctor Baza.[129]I have not succeeded in identifying the Licenciado Daza with any of the Dazas mentioned by Bartolomé José Gallardo,Ensayo de una biblioteca española de libros raros y curiosos(Madrid, 1863-1889), vol. ii., cols. 750-754.[130]The Maestro Garay, praised as adivino ingenioin Lope de Vega'sArcadia, is represented by aglosa, a copy ofredondillas, and five sonnets in Manuel Rivadeneyra'sBiblioteca de autores españoles, vol. xlii., pp. 510-511.[131]Cervantes's praise of the Maestro Córdoba is confirmed by Lope de Vega in theLaurel de Apolo(silva iv.):—Hoy á las puertas de su templo llamaUna justa memoria,Digna de honor y gloria,Antes que pase el alto Guadarrama,Que mi maestro Córdoba me ofrece,Y las musas latinas me dan voces,Pues con tan justa causa la merece.[132]Francisco Díaz, lecturer on philosophy and medicine at the University of Alcalá de Henares, published aCompendio de Cirujia(Madrid, 1575). In 1588 Cervantes contributed a complimentary sonnet to Díaz' treatise on kidney disease:Tratado nuevamente impreso acerca de las enfermedades de los riñones. The occasion is certainly singular. It does not seem that Díaz himself published any verse.[133]No trace of Luján's writings has, to my knowledge, been discovered. It seems unlikely that Cervantes can refer to the Pedro de Luján whoseColoquios matrimonialeswere published at Seville as early as 1550: see Gallardo,op. cit., vol. iii., col. 553.[134]A prefatory sonnet by Juan de Vergara is found in López Maldonado'sCancionero: see note 23.[135]It may be to this writer that Agustín de Rojas Villandrando alludes in theViaje entretenido(1603):—De los farsantes que han hechofarsas, loas, bayles, letrasson Alonso de Morales,Grajales, Zorita Mesa, etc.Two romances by an Alonso de Morales are given in Rivadeneyra, vol. xvi., p. 248.[136]This prophecy has not been fulfilled: Hernando Maldonado's writings appear to be lost.[137]Lope de Vega also finds place in theLaurel de Apolo(silva iii.) forAquel ingenio, universal, profundo,El docto Marco Antonio de la Vega,Ilustre en verso y erudito en prosa.[138]This can scarcely refer to the famous diplomatist who died in 1575. Possibly Cervantes may have alluded here to Captain Diego de Mendoza de Barros, two of whose sonnets are included in Pedro Espinosa's collection entitledFlores de poetas ilustres de España(1605). The sonnet on f. 65—"Pedís, Reyna, un soneto, ya lo hago—"may have served as Lope de Vega's model for the celebrated Sonnet on a Sonnet inLa Niña de plata. A still earlier example in this kind was given by Baltasar del Alcázar: see note 43. For French imitations of this sonnet, see M. Alfred Morel-Fatio's article in theRevue d'Histoire littéraire de la France(Paris, July 15, 1896), pp. 435-439. See also Father Matthew Russell'sSonnets on the Sonnet(London, 1898), and a note in Sr. D. Adolfo Bonilla y San Martín's Castilian version of myHistory of Spanish Literature(Madrid, 1901), p. 344.[139]Diego Durán contributed a prefatory poem to López Maldonado'sCancionero: see note 23. Casiano Pellicer conjectured that Durán figures in theGalateaas Daranio: see theIntroductionto the present version, p. xlviii,n.2.[140]López Maldonado seems to have been on very friendly terms with Lope de Vega and, more especially, with Cervantes. InDon Quixote(Part I., chap. vi), the latter writes:—"es grande amigo mio." Lope and Cervantes both contributed prefatory verses to López Maldonado'sCancionero(1586) of which the Priest expressed a favourable opinion when examining Don Quixote's library:—"it gives rather too much of its eclogues, but what is good was never yet plentiful: let it be kept with those that have been set apart."[141]Luis Gálvez de Montalvo is best remembered as the author of the pastoral novel,El Pastor de Fílida(1582); see theIntroductionto the present version, pp. xxvi and xxxi.[142]Pedro Liñán de Riaza's poems have been collected in the first volume of theBiblioteca de escritores aragoneses(Zaragoza, 1876). Concerning some supplementary pieces, omitted in this edition, see Professor Emilio Teza,Der Cancionero von Neapel, inRomanische Forschungen(Erlangen, 1893), vol. vii., pp. 138-144. Sr. D. Adolfo Bonilla y San Martín conjectures that Liñán de Riaza may have had some part in connection with Avellaneda's spurious continuation ofDon Quixote: see the elaborate note in his Castilian version of myHistory of Spanish Literature(Madrid, 1901), pp. 371-374.[143]Alonso de Valdés wrote a prologue in praise of poetry to Vicente Espinel'sDiversas rimas: see note 46.[144]Pedro de Padilla and Cervantes were on excellent terms: "es amigo mio," says the latter inDon Quixote(Part I., chap. vi). Cervantes contributed complimentary verses to Padilla'sRomancero(1583), to hisJardín espiritual(1585), and to his posthumousGrandezas y Excelencias de la Virgen(1587). Padilla died in August 1585, shortly after the publication of theGalatea: hisRomancerohas been reprinted (1880) by the Sociedad de Bibliófilos españoles.[145]I have met with no other allusion to Gaspar Alfonso.[146]Theheróicos versosof Cristóbal de Mesa are of no remarkable merit. Besides translations of Virgil, and the tragedyPompeyo(1615), he publishedLas Navas de Tolosa(1594),La Restauración de España(1607), theValle de lágrimas(1607), andEl Patrón de España(1611).[147]Many Riberas figure in the bibliographies, but apparently none of them is named Pedro.[148]Benito de Caldera's translation of Camões'sLusiadaswas issued at Alcalá de Henares in 1580. Láinez, Garay, Gálvez de Montalvo, and Vergara—all four eulogized in thisCanto de Calíope—contributed prefatory poems.[149]Besides a well-knownglosaon Jorge Manrique'sCoplas, Francisco de Guzmán published theTriumphos Moralesand theDecretos de Sabiosat Alcalá de Henares in 1565.[150]This stanza is supposed by Barrera to refer to Juan de Salcedo Villandrando who wrote a prefatory sonnet for Diego d'Avalós y Figueroa'sMiscelánea austral(Lima, 1602).[151]This Tomás Gracián Dantisco was the grandson of Diego García,camarero mayorat the court of the Catholic Kings, and son of Diego Gracián de Alderete, Secretary of State and official Interpreter during the reigns of Charles V. and Philip II. The latter studied at the University of Louvain where his name was wrongly Latinized as Gratianus (instead of Gracianus), and, on his return to Spain, he adopted the form Gracián. He married a daughter of Johannes de Curiis, called (from his birthplace) Dantiscus, successively Bishop of Culm (June, 1530) and of West Ermeland (January, 1538), and Polish ambassador at the court of Charles V.: see Leo Czaplicki,De vita et carminibus Joannis de Curiis Dantisci(Vratislaviae, 1855). Some of Diego Gracián de Alderete's letters are included by Sr. D. Adolfo Bonilla y San Martín in his very interesting collection entitledClarorum Hispaniensium epistolae ineditae(Paris, 1901), printed in theRevue Hispanique(Paris, 1901), vol. viii., pp. 181-308.Tomás Gracián Dantisco succeeded his father as official Interpreter, and published anArte de escribir cartas familiares(1589). His brother, Lucás Gracián Dantisco, signed theAprobaciónto theGalatea: see theIntroductionto the present version, p. x,n.4. Another brother, Antonio Gracián Dantisco, secretary to the King, was a good Greek scholar. He translated a treatise by Hero of Alexandria under the titleDe los Pneumaticos, ó machuinas que se hazen por atraccion de vacio. The manuscript has apparently disappeared; but it existed as late as the time of Nicolás Antonio (Bibliotheca Hispana, Romae, 1672, vol. i., p. 98). See also Charles Graux'Essai sur les origines du fonds grec de l'Escurial(Paris, 1880), which forms the 46thfasciculeof theBibliothèque de l'École des Hautes Etudes, and an interesting note by M. Alfred Morel-Fatio in theBulletin hispanique(Bordeaux, 1902), vol. iv., p. 282.[152]In theDorotea(Act iv. sc. ii.) Lope de Vega speaks of "Bautista de Vivar, monstruo de naturaleza en decir versos de improviso con admirable impulso de las musas"; but Vivar's merits must be taken on trust, for his writings have not been printed. A certain Vivar, author of some versesá lo divino, is mentioned by Gallardo (op. cit., vol. i., col. 1023), but no specimens are given from the manuscript which was in existence as late as November 1, 1844.The phrase—monstruo de naturaleza—applied by Lope to Vivar was applied by Cervantes to Lope in the preface to hisOcho Comedias y ocho entremeses nuevos(Madrid, 1615). It occurs also in Lope'sHermosa Ester, the autograph of which, dated April 5, 1610, is in the British Museum Library, Egerton MSS. 547. Mr. Henry Edward Watts (Miguel de Cervantes, his life & works, London, 1895, p. 109) contends that Cervantes uses the expression "in bad part" (i.e. in a sense derogatory to Lope), and cites as a parallel case the employment of it inDon Quixote(Part I. chap. xlvi) where Sancho Panza is described as "monstruo de naturaleza, almario de embustes, silo de bellaquerías, inventor de maldades, publicador de sandeces," and so forth. The wordsmonstruo de naturalezaare, no doubt, open to two interpretations. It is, however, inconceivable that Cervantes would offer so gross an insult to his successful rival as is thus imputed to him. In his bickerings with Lope, Cervantes may sometimes forget himself, as will happen to the best of men at times; but such vulgarity as this is absolutely unlike him. It may be as well to note that the expression—monstruo de naturaleza—was current as a compliment long before either Cervantes or Lope used it; it will be found in Pedro de Cáceres y Espinosa's preliminaryDiscursoto the poems of Gregorio Silvestre published in 1582.Students of Spanish literary history will remember that Vivar's name was introduced by one of the witnesses who appeared against Lope de Vega when the latter was prosecuted for criminal libel at the beginning of 1588. Luis Vargas de Manrique (mentioned in note 8) was reported by this witness as saying that, on the internal evidence, one of the scandalous ballads which formed the basis of the charge might be attributed to four or five different persons: "it may be by Liñán (mentioned in note 25) who is not here, or by Cervantes, and he is not here, and, since it is not mine, it may be by Vivar, or by Lope de Vega, though Lope de Vega, if he had written it, would not so malign himself." See theProceso de Lope de Vega por libelo contra unos cómicos(Madrid, 1901) by the Sres. Tomillo and Pérez Pastor.[153]Baltasar de Toledo's writings have not been traced.[154]Lope Félix de Vega Carpio was born at Madrid on November 25, 1562, and died there on August 27, 1635. A soldier, a poet, a novelist, a dramatist, and a priest, he ranks next to Cervantes in the history of Spanish literature. It is impossible to give any notion of his powers within the compass of a note. According to Pérez de Montalbán, Lope was the author of 1800 plays and 400autos: some 400 plays and some 50autossurvive, apart from innumerable miscellaneous works. Lope'sObras completasare now being issued by the Royal Spanish Academy under the editorship of Sr. D. Marcelino Menéndez y Pelayo, and each succeeding volume—thirteen quarto volumes have already been issued to subscribers—goes to justify his immense reputation. A short summary of his dramatic achievement is given in my lecture onLope de Vega and the Spanish Drama(Glasgow and London, 1902); for fuller details of this amazing genius and his work see Professor Hugo Albert Rennert's admirable biography (Glasgow, 1903).[155]Francisco Pacheco, uncle of the author of theArte de la pintura, was born in 1535 and died in 1599. Some specimens of his skill in writing occasional Latin verses are extant in Seville Cathedral—of which he was a canon. A Latin composition from the same pen will be found in Herrera's edition of Garcilaso, for which see note 39.[156]Fernando de Herrera, the chief of the Seville school of poets, was born in 1534 and died in 1597. Herrera, who was a cleric but not a priest, dedicated many of his poems (1582) to the Condesa de Gelves, and there is interminable discussion as to whether these verses are to be taken in a Platonic sense, or not. Besides being a distinguished lyrical poet, Herrera proved himself an excellent critic in theAnotacionesin his edition of Garcilaso de la Vega (1580). This commentary was the occasion of a clever, scurrilous attack, circulated under the pseudonym of Prete Jacopín, by Juan Fernández de Velasco, Conde de Haro, who resented the audacity of an Andaluz in presuming to edit a Castilian poet. Haro evidently thought that invective was an ornament of debate, for inObservación XI.he calls his opponentydiotíssimo, and inObservación XXVII.he calls Herrera an ass: "sois Asno y no León."Cervantes was a great admirer of Herrera whose death he commemorated in a sonnet. Moreover, he wove into the short dedication of the First Part ofDon Quixote(to the Duque de Béjar) phrases borrowed from the dedication in Herrera's edition of Garcilaso: see vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.[157]Thatel culto Cangashad a high reputation appears from the allusion in theRestauración de España(lib. x. est. 108) of Cristóbal de Mesa who also dedicated a sonnet to him in theRimas(Madrid, 1611), f. 230.[158]Two sonnets by Cristóbal de Villaroel are given in Espinosa'sFlores de poetas ilustres de España(1605). This extremely rare work, together with the supplementaryFlores(1611) gathered by Juan Antonio Calderón, has been edited with great skill by Sr. D. Francisco Rodríguez Marín who, fortunately for students, undertook to finish the work begun by Sr. D. Juan Quirós de los Ríos. Two additional sonnets by Villaroel precede Enrique Garcés's rendering of Petrarch: see note 68.[159]Francisco de Medina was born at Seville about 1550 and died there in 1615. This pleasing poet was of great assistance to Herrera in the work of editing Garcilaso. Herrera's edition, which includes examples of Medina's verse, also contains a preface by Medina which was utilized by Cervantes in the dedication of theFirst Part of Don Quixote: see note 39 and vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.[160]Baltasar del Alcázar was born in 1540 and died in 1606. His graceful, witty poems were reissued in 1878 by the Sociedad de Bibliófilos Andaluces. Alcázar's Sonnet on a Sonnet (see note 21) lacks a line in the version printed by Gallardo,op. cit., vol. i., col. 75.[161]Cristóbal Mosquera de Figueroa was born in 1553 and died in 1610. He is best known as the author of aComentario en breve compendio de disciplina militar(Madrid, 1596) for which Cervantes wrote a sonnet on the famous Marqués de Santa Cruz. Specimens of Mosquera de Figueroa's verse are to be found in Herrera's edition of Garcilaso.[162]The Sevillian priest, Domingo de Becerra, as appears from Fernández de Navarrete'sVida de Cervantes Saavedra(Madrid, 1819, pp. 386-387), was a prisoner in Algiers with Cervantes, and was ransomed at the same time as the latter. Becerra was then (1580) forty-five years of age. He translated Giovanni Della Casa'sIl Galateo, and published his version at Venice in 1585.[163]Vicente Espinel was born in 1550 and is conjectured to have died between 1624 and 1634. He is said to have added a fifth string to the guitar, and to have introducedespinelas: "perdónesele Dios," is Lope's comment in theDorotea(act. i. sc. vii.). Espinel'sDiversas rimas(1591) are now only known to students; but his picaresque novel,Marcos de Obregón(Madrid, 1618), still finds, and deserves to find, many readers. In the 1775 edition of theSiècle de Louis XIV.Voltaire alleged thatGil Blaswas "entièrement pris du roman espagnolLa Vidad de lo Escudiero Dom Marcos d'Obrego." It will be observed that, in transcribing the title, Voltaire makes almost as many mistakes as the number of words allows. His statement is a grotesque exaggeration, but it had the merit of suggesting a successful practical joke to José Francisco de Isla. This sly wag translatedGil Blasinto Spanish, mischievously pretending that the book was thus "restored to its country and native language by a jealous Spaniard who will not allow his nation to be made fun of." Unluckily, the naughty Jesuit did not live to see the squabbles of the learned critics who fell into the trap that he had baited for them. It is, by the way, a curious and disputed point whether the Comte de Neufchâteau's celebratedExamen de la question de savoir si Lesage est l'auteur de Gil Blas ou s'il l'a pris de l'espagnol(1818) was, or was not, taken word for word from a juvenile essay by Victor Hugo: seeVictor Hugo raconté par un témoin de sa vie(Bruxelles and Leipzig, 1863), vol. i., p. 396. In theAdjunta al ParnasoCervantes calls Espinel "uno de los más antiguos y verdaderos amigos que yo tengo." In hisRimasEspinel had been most complimentary to Cervantes. But Pellicer and Fernández de Navarrete have spoken harshly of him for being (as they imagined) jealous of the success ofDon Quixote; and Mr. Henry Edward Watts (op. cit., p. 157,n.1) asserts that Espinel "took occasion after Cervantes' death to speak of his ownMarcos de Obregón... as superior toDon Quixote." This is not so. There may be authors who suppose that their immortal masterpieces are superior to the ephemeral writings of everybody else: but they seldom say this—at least, in print. Nor did Espinel. It must suffice, for the moment, to note that the above-mentioned fable is mainly based on the fact that the Gongoresque poet and preacher, Hortensio Félix Paravicino y Arteaga, wrote as follows in hisAprobación to Marcos de Obregón: "El Libro del Escudero, que escriuio el Maestro Espinel, y V. M. me manda censurar, he visto, y no hallo en el cosa que se oponga à nuestra santa Fè Catolica Romana, ni ofenda à la piedad de las buenas costumbres della, antes de los libros deste género, que parece de entretenimiento comun, es el que con más razón deue ser impreso, por tener el prouecho tan cerca del deleyte, que sin perjudicar enseña, y sin diuertir entretiene: el estilo, la inuencion, el gusto de las cosas, y la moralidad, que deduze dellas, arguyen bien la pluma que la ha escrito, tan justamente celebrada en todas naciones. A mi alomenos de los libros deste argumento me parece la mejor cosa que nuestra lengua tendrà, y que V.m. deue darle vna aprouacion muy honrada. Guarde nuestro Señor à V. M."It is Paravicino, not Espinel, who speaks: and the eulogistic phrases which he uses do not exceed the limits of the recognized convention on such occasions.[164]Jerónimo Sánchez de Carranza was introduced to England by Ben Jonson as an authority on honour and arms. Bobadil, inEvery Man in his humour(Act 1, sc. 4) says:—"By the foot of Pharaoh, an' 'twere my case now I should send him a chartel presently. The bastinado, a most proper and sufficient dependence, warranted by the great Carranza." Carranza wrote thePhilosophia y destreza de las armas(Sanlúcar de Barrameda, 1582); a later treatise, theLibro de las grandezas de la espada(Madrid, 1600) was issued by the counter-expert of the next generation, Luis Pacheco de Narváez. I need scarcely remind most readers that Pacheco de Narváez, the famous fencing-master, was ignominiously disarmed by Quevedo—an incomparable hand with the foil, despite his lameness and short sight. Pacheco naturally smarted under the disgrace, and seems to have shown his resentment in an unpleasant fashion whenever he had an opportunity. The respective merits of Carranza and Pacheco divided Madrid into two camps. Literary men were prominent in the fray. Suárez de Figueroa, Vélez de Guevara, and Ruiz de Alarcón declared for Pacheco. Among Carranza's partisans were Luis Mendoza de Carmona and, as might be expected, Quevedo who mentions theLibro de las grandezas de la espadain hisHistoria de la vida del Buscón(lib. i. cap. viii.).[165]Two sonnets by Lázaro Luis Iranzo are given in Rivadeneyra,op. cit., vol. iv., pp. 180, 364.[166]Baltasar de Escobar is represented in Espinosa'sFlores de poetas ilustres: a complimentary letter addressed by Escobar to Cristóbal de Virués is printed in Rivadeneyra,op. cit., vol. lxii., p. 37.[167]A sonnet on the sack of Cádiz by Juan Sanz de Zumeta is given in Juan Antonio Pellicer's edition ofDon Quixote(Madrid, 1797-1798), vol. i., p. lxxxvi.[168]The correct, full form of this writer's name seems to be Juan de la Cueva de Garoza. He is conjectured to have been born in 1550 and to have died in 1609. This interesting dramatist was among the most distinguished of Lope de Vega's immediate predecessors, and in such plays asEl Cerco de Zamorahe comes near anticipating Lope's methods. In hisExemplar poético(1609) Cueva declares that he was the first to bring kings upon the stage, an innovation that was censured at the time:—A mi me culpan de que fuí el primeroque Reyes y Deydades di al teatrode las Comedias traspasando el fuero.Evidently Cueva did not know that Torres Naharro introduces a king in hisAquilana. A reprint of Cueva's plays is urgently needed: his purely poetic work is of slight value. An edition ofEl Viage de Sannio, with an admirable Introduction by Professor Fredrik Amadeus Wulff will be found in theActa Universitatis Lundensis(Lund, 1887-1888), (Philosophi, Språkvetenskap och Historia), vol. xxiii.[169]Nothing by Adán Vivaldo has survived, apparently. Cervantes assigns this surname to a minor character inDon Quixote(Part I., chap. xiii.).[170]It would be interesting to know how far this panegyric on Juan Aguayo was justified. I have failed to find any information concerning him or his works.[171]The dates of the birth and death of the Cordoban poet, Juan Rufo Gutiérrez, are given conjecturally as 1530 and 1600. Cervantes esteemed Rufo'sAustriadainordinately: see note 2. In truth theAustriadais a tedious performance, being merely a poor rhythmical arrangement of Diego Hurtado de Mendoza'sGuerra de Granada. Mendoza's history was not published till 1627, long after the author's death (1575). It was issued at Lisbon by Luis Tribaldos de Toledo who, in the previous year, had brought out a posthumous edition of the poems of Francisco de Figueroa—the Tirsi of theGalatea. Evidently, then, Rufo read theGuerra de Granadain manuscript: see M. Foulché-Delbosc's article in theRevue hispanique(Paris, 1894), vol. i., pp. 137-138,n.[172]Luis de Góngora y Argote was born in 1561 and died in 1627. His father, Francisco de Argote, was Corregidor of Córdoba, and it has been generally stated that the poet assumed his mother's maiden name. However, the Sra. Doña Blanca de los Ríos y de Lampérez alleges that Góngora's real name was Luis de Argote y Argote: see an article entitledDe vuelta de Salamanca in La España moderna(Madrid, June 1897). I do not know precisely upon what ground this statement is made. Despite the perverse affectations into which hisculteranismoled him, Góngora is one of the most eminent Spanish poets, and unquestionably among the greatest artists in Spanish literature. A passage in theViaje del Parnaso(cap. vii.) seems to imply that Cervantes admired Góngora's very obscure work, thePolifemo:—De llano no le déis, dadle de corte,Estancias Polifemas, al poetaQue no os tuviere por su guía y norte.Inimitables sois, y á la discretaGala que descubrís en lo escondidoToda elegancia puede estar sujeta.M. Foulché-Delbosc has in preparation a complete edition of Góngora's works.[173]Barrera conjectures that this Gonzalo Cervantes Saavedra may be the author of a novel entitledLos Pastores del Betis, published at Trani in 1633-4. I do not know this work, which may have been issued posthumously. It seems unlikely that Gonzalo Cervantes Saavedra began novel-writing when over seventy years old: for we may take it that he was over twenty when his namesake praised him, as above, in 1585.[174]Gonzalo Gómez de Luque wrote theLibro primero de los famosos hechos del príncipe Don Celidon de Iberia(Alcalá de Henares, 1583); but the only works of his with which I am acquainted are the verses in Padilla'sJardín espiritualand López Maldonado'sCancionero: see notes 27 and 23.[175]Two sonnets by Gonzalo Mateo de Berrío are included in Espinosa'sFlores de poetas ilustres. Espinel refers to him in the preface toMarcos de Obregón: Lope mentions him in theLaurel de Apolo(silva ii.) and in theDorotea(Act iv., sc. ii.) Berrío signed theAprobaciónto Cairasco de Figueroa'sTemplo militante: see note 73.[176]Luis Barahona de Soto was born in 1548 at Lucena (Lucena de Córdoba and not Lucena del Puerto, as Barrera supposed). After some wanderings he settled at Archidona where he practised medicine. He is said to have diedab intestatoon November 6, 1595. A complimentary sonnet by him appears in Cristóbal de Mesa'sRestauración de España(Madrid, 1607): it would seem, therefore, that Mesa'sRestauraciónmust have been in preparation for at least a dozen years. Some verses by Barahona de Soto are given in Espinosa'sFlores de poetas ilustres: four of his satires, and hisFábula de Acteónare printed in Juan José López de Sedano'sParnaso Español(Madrid, 1768-1778), vol. ix., pp. 53-123. Barahona de Soto's best known work isLa primera parte de la Angélica(Granada, 1586) which, in the colophon, has the alternative title ofLas lágrimas de Angélica. There is a famous allusion to this work inDon Quixote(Part I., chap. vi.):—"I should have shed tears myself," said the curate when he heard the title, "had I ordered that book to be burned, for its author was one of the famous poets of the world, not to say of Spain, and was very happy in the translation of some of Ovid's fables." As Mr. Ormsby observed:—"The anti-climax here almost equals Waller's:—'Under the tropic is our language spoke,And part of Flanders hath received our yoke'."See vol. iii. of the present edition (Glasgow, 1901), p. 53,n.3. It has often been questioned whether Barahona de Soto ever wrote a Second Part of theAngélica. Since the publication of theDiálogos de la Montería(Madrid, 1890) by the Sociedad de Bibliófilos Españoles, under the editorship of Sr. D. Francisco R. de Uhagón, it seems practically certain that he at all events began the Second Part, if he did not finish it. TheDiálogos de la Montériacontain numerous passages quoted from the Second Part; and in a biographical, bibliographical and critical study, which Sr. D. Francisco Rodríguez Marín is now correcting for the press, it will be shown that Barahona de Soto was, in all probability, himself the author of theseDiálogos.[177]A sonnet by Francisco de Terrazas figures in Pedro Espinosa'sFloresta de poetas ilustres de España: three more sonnets by Terrazas will be found in Gallardo, vol. i.,op. cit., cols. 1003-1007.[178]Barrera does not help us to discover anything of Martínez de Ribera, who may have published in the Indies.[179]Barrera vaguely infers from the text that Alonso Picado was a native of Peru.[180]Alonso de Estrada is conjectured by Barrera to have been born in the Indies.[181]Nothing seems to be known of Avalos y de Ribera.[182]I have never met with any of Sancho de Ribera's writings: a sonnet to him is found among Garcés's translations from Petrarch: see note 68.[183]A sonnet by Pedro de Montesdoca,El Indiano, is prefixed to Vicente Espinel'sDiversas rimas(1591).[184]A sonnet by Diego de Aguilar precedes Garcés's translation of Camões'sLusiadas: see note 68. I presume him to be the author of another prefatory sonnet in López Maldonado'sCancionero.[185]No information is forthcoming as to Gonzalo Fernández de Sotomayor or his works.[186]Henrique Garcés publishedLos sonetos y canciones del Poeta Francisco Petrarcha(Madrid, 1591), andLos Lusiadas de Luys de Camoes(Madrid, 1591).[187]Thevena inmortalof Rodrigo Fernández de Pineda does not seem to have expressed itself in print.[188]The name of Juan de Mestanza recurs in theViaje del Parnaso(cap. vii.).[189]An American, so Barrera thinks: there is no trace of his writings.[190]Another American, according to Barrera; there is no trace of his writings either.[191]Bartolomé Cairasco de Figueroa was born at the Canaries in 1540, became Prior of the Cathedral there, and died in 1610. HisTemplo militante, flos santorum, y triumphos de sus virtudeswas issued in four parts: (Valladolid, 1602), (Valladolid, 1603), (Madrid, 1609), and (Lisbon, 1614). Selections are given in Juan José López de Sedano'sParnaso español(Madrid, 1768-1778), vol. v., pp. 332-363, and vol. vi., pp. 191-216. Cairasco de Figueroa wrote a prefatory poem to Carranza'sLibro de las grandezas de la espada: see note 47. According to the Spanish annotators of Ticknor'sHistory, Cairasco left behind him a version (unpublished) of Ariosto'sGerusalemme.[192]Barrera states that a sonnet by Damián de Vega is prefixed to Juan Bautista de Loyola'sViaje y naufragios del Macedonio(Salamanca, 1587). I do not know this work.[193]The celebrated scholar, Francisco Sánchez, usually calledEl Brocensefrom his native place, was born at Las Brozas (Extremadura) in 1523, became professor of Greek and Rhetoric at Salamanca, and died in 1601. He edited Garcilaso (Salamanca, 1581), Juan de Mena (Salamanca, 1582), Horace (Salamanca, 1591), Virgil (Salamanca, 1591), Politian'sSilvae(Salamanca, 1596), Ovid (Salamanca, 1598), Persius (Salamanca, 1599). To these should be added theParadoxa(Antwerp, 1582), and a posthumous commentary on Epictetus (Pamplona, 1612).A Practical Grammar of the Latin Tongue, based on Sánchez, was published in London as recently as 1729.El Brocensewas prosecuted by the Inquisition in 1584, and again in 1588. The latter suit was still dragging on when Sánchez died. See theColección de documentos inéditos para la historia de España(Madrid, 1842, etc.), vol. ii., pp. 5-170.[194]The lawyer Francisco de la Cueva y Silva was born at Medina del Campo about 1550. His verses appear in Pedro Espinosa'sFlores de poetas ilustres de España; he wrote a prefatory poem for Escobar Cabeza de Vaca'sLuzero de la tierra sancta, and is said to be the author of a play entitledEl bello Adonis. Lope de Vega'sMal Casadais dedicated to Cueva whose high professional reputation may be inferred from the closing lines of a well-known sonnet by Quevedo:—Todas las leyes, con discurso fuerteVenció; y ansí parece cosa nueva,Que le vinciese, siendo ley, la muerte.Cueva is mentioned, together with Berrío (see note 58), in theDorotea(Act. iv. sc. ii.): "Don Francisco de la Cueva, y Berrío, jurisconsultos gravísimos, de quien pudiéramos decir lo que de Dino y Alciato, interpretes consultísimos de las leyes y poetas dulcísimos, escribieron comedias que se representaron con general aplauso."[195]The famous mystic writer and poet Luis Ponce de León was born at Belmonte (Cuenca) in 1527, joined the Augustinian Order in 1544, and was appointed professor of theology at Salamanca in 1561. He became involved in an academic squabble and was absurdly suspected of conspiring with the professors of Hebrew, Martín Martínez de Cantalapiedra and Juan Grajal, to interpret the Scriptures in a rabbinical sense. A plot seems to have been organized against him by Bartolomé de Medina, and, perhaps, by León de Castro, the professor of Greek at Salamanca. Luis de León was likewise accused of having translated theSong of Songsin the vernacular, and it has hitherto been thought that this charge told most heavily against him in the eyes of the Holy Office. It now appears that the really damaging accusation in the indictment referred to the supposed heterodoxy of Fray Luis's views as to the authority of the Vulgate: see a learned series of chapters entitledFray Luis de León; estudio biográfico y críticopublished by the Rev. Father Francisco Blanco García (himself an Augustinian monk) inLa Ciudad de Dios(from January 20, 1897 onwards, at somewhat irregular intervals). Luis de León was arrested in March 1572 and imprisoned till December 1576, when he was discharged as innocent. In 1579 he was appointed to the chair of Biblical History at Salamanca, his chief competitor being Fray Domingo de Guzmán, son of the great poet Garcilaso de la Vega. In 1582 Fray Luis was once more prosecuted before the Inquisition because of his supposed heterodoxy concerning the questionde auxiliis: see theSegundo proceso instruído por la Inquisición de Valladolid contra Fray Luis de León(Madrid, 1896), annotated by the Rev. Father Francisco Blanco García. In 1591 Fray Luis was elected Provincial of the Augustinian Order: he died ten days later. While in jail he wrote what is, perhaps, the noblest mystic work in the Spanish language,Los Nombres de Cristo, the first two books of which were published in 1583—the complete work (including a third book) being issued in 1585. In 1583 also appeared hisPerfecta casada. Fray Luis, in a fortunate hour for mankind, edited the writings of Santa Teresa, rescuing from the rash tamperings of blunderers works which he instantly recognized as masterpieces. His verses were published by Quevedo in 1631: they at once gave Fray Luis rank as one of the great Spanish poets, though he himself seems to have looked upon them as mere trifles.[196]Matías de Zúñiga, whose genius Cervantes here declares to have been divine, does not appear to have published anything.[197]Certain poems ascribed to Damasio de Frías are given by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vols. ii. and vii.[198]Barrera merely states that Andrés Sanz del Portillo resided in Castilla la Vieja: his writings have not reached us.[199]Possibly this writer may be identical with the Pedro de Soria who contributed a sonnet to Jerónimo de Lomas Cantoral'sObras: see note 83.[200]TheObrasof Jerónimo de Lomas Cantoral appeared at Madrid in 1578. They include translations of threecanzoniby Luigi Tansillo.[201]Jerónimo Vaca y de Quiñones contributed a sonnet to Pedro de Escobar Cabeza de Vaca'sLuzero de la tierra sancta, y grandezas de Egypto, y monte Sinay(Valladolid, 1587): see note 77.[202]Lupercio Leonardo de Argensola was born in 1559, and died in 1613 at Naples, whither he had accompanied the Conde de Lemos three years earlier. His admirable poems, and those of his brother, were issued posthumously in 1634: see note 86. HisIsabela,FílisandAlejandraare praised inDon Quixoteas "three tragedies acted in Spain, written by a famous poet of these kingdoms, which were such that they filled all who heard them with admiration, delight, and interest, the ignorant as well as the wise, the masses as well as the higher orders, and brought in more money to the performers, these three alone, than thirty of the best that have since been produced": see vol. iv. of the present edition (Glasgow, 1901), p. 214. TheFílisseems to be lost. TheIsabelaandAlejandra, neither of them very interesting, were first published in 1772 by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vol. vi., pp. 312-524. There may be a touch of friendly exaggeration in Cervantes's account of their success on the boards. At all events, the author of these pieces soon abandoned the stage, and, when the theatres were closed on the death of the Queen of Piedmont, he was prominent among those who petitioned that the closure might be made permanent. A Royal decree in that sense was issued on May 2, 1598. In the following year Lupercio Leonardo de Argensola was appointed chief chronicler of Aragón. TheIsabelaandAlejandraare reprinted in the first volume of the Conde de la Viñaza's edition of the Argensolas'Poesías sueltas(Madrid, 1889).[203]Bartolomé Leonardo de Argensola was born in 1562 and died in 1631. He took orders, became Rector of Villahermosa, and succeeded his brother as official chronicler of Aragón. He published theConquista de las Islas Malacas(Madrid, 1609), and theAnales de Aragón(Zaragoza, 1631)—the latter being a continuation of Jerónimo de Zurita'sAnales de la Corona de Aragón(1562-1580). The poems of both brothers were issued by Lupercio's son, Gabriel Leonardo de Albión, in a volume entitledLas Rimas que se han podido recogerde Lupercio, y del Doctor Bartolomé Leonardo de Argensola(Zaragoza, 1634). Lope de Vega had a great esteem for the Argensolas whose polished diction, rare in men of Aragonese birth, he regarded as an antidote to the extravagances—thefrases horribles, as he says—ofculteranismo. The very considerable merits of the Argensolas were likewise appreciated by Cervantes who, however, seems to have cooled somewhat towards the brothers when the Conde de Lemos, on his appointment as Viceroy of Naples, attached them to his household. It is said that Cervantes himself hoped to form part of Lemos's suite, and that he was annoyed with the Argensolas for not pushing his claims as vigorously as he expected of them. At this distance of time, it is impossible for us to know what really happened; but a passage in theViaje del Parnaso(cap. iii.) does appear to imply that Cervantes had a grievance of some kind against the Argensolas:—Que no sé quien me dice, y quien me exhorta,Que tienen para mi, á lo que imagino,La voluntad, como la vista corta.[204]The writings of Cosme Pariente are unknown to Barrera, and to later bibliographers.[205]Diego Murillo was born at Zaragoza about 1555, joined the Franciscans, and became a popular preacher. He is the author of theInstruccion para enseñar la virtud á los principiantes(Zaragoza, 1598), theEscala espiritual para la perfección evangélica(Zaragoza, 1598), theVida y excelencias de la Madre de Dios(Zaragoza, 1610), and six volumes ofDiscursos predicables, published at Zaragoza and Lisbon between 1602 and 1611. The most accessible of Murillo's works are theFundación milagrosa de la capilla angélica y apostólica de la Madre de Dios del Pilar(Barcelona, 1616), and a volume entitledDivina, dulce y provechosa poesía(Zaragoza, 1616). His verse (some specimens of which are given in Böhl de Faber'sFloresta de rimas antiguas castellanas) is better than his prose, but in neither does he fulfil the expectations raised by Cervantes's compliments.[206]Juan Coloma, Conde de Elda, is responsible for aDécada de la Pasión de Jesu Christo(Cádiz, 1575).[207]Pedro Luis Garcerán de Borja is also introduced by Gil Polo in theCanto del Turia: see note 94. He held the appointment of Captain-General of Oran, where Cervantes may have met him: at the time of his death in 1592 he was Captain-General of Catalonia.[208]Alonso Girón y de Rebolledo is likewise introduced by Gil Polo in theCanto del Turia: see note 94. HisPasión de nuestro Señor Jesu Christo según Sanct Joan(Valencia, 1563) met with considerable success. It contains a complimentary sonnet by Gil Polo: in the following year Girón y de Rebolledo repaid the attention by contributing a sonnet to Gil Polo'sDiana enamorada.[209]Jaime Juan de Falcon, like Garcerán de Borja and Girón y de Rebolledo, figures in Gil Polo'sCanto del Turia: see note 94. He was born in 1522 and died in 1594, having (as he believed) squared the circle. Amongst other works he published theQuadratura circuli(Valencia, 1587): hisObras poéticas latinas(Madrid, 1600) appeared posthumously.[210]Andrés Rey de Artieda was born in 1549 and died in 1613. His youth was one of rare promise. Though not yet fourteen years old when Gil Polo wrote theDiana enamorada, he is introduced to us as a poet in theCanto del Turia:—y prometernos han sus tiernas floresfrutos entre los buenos los mejores.This phrase may have been in Cervantes's mind when writing of his own play,La Confusa: "la cual, con paz sea dicho de cuantas comedias de capa y espada hasta hoy se han representado, bien puede tener lugar señalado par buena entre las mejores" (see theAdjunta al Parnaso).Artieda graduated in arts at the University of Valencia in 1563, and studied later at Lérida and Tolosa, taking his degree as doctor of both civil and canonical law at the age of twenty. This brilliant academic success was receivedcon aplauso y pronósticos extraños, and a great future seemed to await him. However, he was something of a rolling stone. He practised for a short while at the bar, but abandoned the profession in disgust and entered the army. Here, again, he seemed likely to carry all before him. In his first campaign he was promoted at a bound to the rank of captain, but his luck was now run out. Like Cervantes, he received three wounds at Lepanto. He was present at the relief of Cyprus, and served under Parma in the Low Countries. His intrepidity was proverbial, and he is said to have swum across the Ems in midwinter, his sword gripped between his teeth, under the enemy's fire. These heroic feats do not appear to have brought him advancement, and, in theViaje del Parnaso(cap. iii.), Cervantes, who would seem to have known him personally, speaks of Artieda grown old as—Más rico de valor que de moneda.Artieda is said to have written plays entitledEl Príncipe vicioso,Amadís de Gaula, andLos Encantos de Merlín: he is the author of a mediocre tragedy,Los Amantes(Valencia, 1581) which may have been read by Tirso de Molina before he wroteLos Amantes de Teruel. Artieda published an anthology of his verses under the pseudonym of Artemidoro:Discursos, epístolas y epigramas de Artemidoro(Zaragoza, 1605). Some passages in this collection express the writer's hostility to the new drama, and betray a certain pique at the success of his former friend, Lope de Vega. Lope, however, praises Artieda very generously in theLaurel de Apolo(silva ii.).[211]Gaspar Gil Polo published theDiana enamoradaat Valencia in 1564. The Priest inDon Quixotedecided that it should "be preserved as if it came from Apollo himself": see vol. iii. of the present edition (Glasgow, 1901), p. 51. It is unquestionably a work of unusual merit in its kind, but some deduction must be made from Cervantes's hyperbolical praise: he evidently succumbed to the temptation of playing on the words Polo and Apollo.Gaspar Gil Polo is said by Ticknor to have been professor of Greek at Valencia. There was a Gil Polo who held the Greek chair in the University of that city between 1566 and 1574: but his name was not Gaspar. Nicolás Antonio and others maintain that the author of theDiana enamoradawas the celebrated lawyer, Gaspar Gil Polo, who appeared to plead before the Cortes in 1626. This Gaspar Gil Polo was a mere boy when theDiana enamoradawas issued sixty-two years earlier. He was probably the son of the author: see Justo Pastor Fuster,Biblioteca Valenciana de las escritores que florecieron hasta nuestros días(Valencia, 1827-1830), vol. i., pp. 150-155, and—more especially—Professor Hugo Albert Rennert,The Spanish Pastoral Romances(Baltimore, 1892), p. 31.As already stated in note 91, Gil Polo contributed a sonnet to Girón y de Rebolledo'sPasión, which appeared a year before theDiana enamorada. Another of his sonnets is found in Sempere'sCarolea(1560). In theSerao de Amor, Timoneda speaks of him as a celebrated poet; but, as we see from theCanto de Calíopeitself, these flourishes and compliments often mean next to nothing. It is somewhat strange that Gil Polo, who is said to have died at Barcelona in 1591, did not issue a sequel to hisDiana enamoradaduring the twenty-seven years of life which remained to him after the publication of the First Part in 1564. At the end of theDiana enamoradahe promised a Second Part as clearly as Cervantes, after him, promised a Second Part of theGalatea: "Las quales (fiestas) ... y otras cosas de gusto y de provecho están tratadas en la otra parte deste libro, que antes de muchos días, placiendo á Dios, será impresa." Gil Polo is believed to have been absorbed by his official duties as Maestre Racional of the Royal Court in the Kingdom of Valencia. HisCanto del Turia, inserted in the third book of theDiana enamorada, is one of the models—perhaps the chief model—of the presentCanto de Calíope. Cervantes follows Gil Polo very closely.[212]The dramatist, Cristóbal de Virués, was born in 1550 and died in 1610. Like Cervantes and Artieda, he fought at Lepanto. HisObras trágicas y líricas(Madrid, 1609) are more interesting than his somewhat repulsiveHistoria del Monserrate(Madrid, 1587-1588) which Cervantes praises beyond measure: see note 2.[213]I have failed to find any example of Silvestre de Espinosa's work.[214]García Romeo (the name is sometimes given as García Romero) appears to have escaped all the bibliographers.[215]Romeroin Spanish meansrosemary. A. B. W.[216]The Jeromite monk, Pedro de Huete, contributed a sonnet to theVersos espirituales(Cuenca, 1597) of the Dominican friar, Pedro de Encinas.[217]Pedro de Láinez joined with Cervantes in writing eulogistic verses for Padilla'sJardín espiritual: see note 27. Examples of his skill are given in Pedro Espinosa'sFlores de poetas ilustres de España(1605). Fernández de Navarrete, in his biography of Cervantes, states (p. 116) that Láinez died in 1605: he is warmly praised by Lope de Vega in theLaurel de Apolo(silva iv.).His widow, Juana Gaitán, lived at Valladolid in the same house as Cervantes and his family: she is mentioned, not greatly to her credit, in the depositions of some of the witnesses examined with reference to the death of Gaspar de Ezpeleta; but too much importance may easily be given to this tittle-tattle. Luisa de Montoya, a very respectable widow, corroborated the evidence of other witnesses who assert that the neighbours gossiped concerning the visits paid to Láinez's widow by the Duque de Pastrana and the Conde de Concentaina—"que venian a tratar de un libro que había compuesto un fulano Laynez, su primer marido."The contemptuous phrase—un fulano Laynez—would imply that Luisa de Montoya was not a person of literary tastes: she was, however, widow of the chronicler, Esteban de Garibay Zamalloa, author of theIlustraciones genealogicas de los catholicos reyes de las Españas, y de los christianissimos de Francia, y de los Emperadores de Constantinopla, hasta el Catholico Rey nuestro Señor Don Philipe el II y sus serenissimos hijos(Madrid, 1596). The words—su primer marido—which are likewise used by another witness (Cervantes's niece, Costanza de Ovando), might be taken, if construed literally, to mean that Láinez's widow had married again shortly after her husband's death: for the evidence was taken on June 29, 1605. But, apparently, the inference would be wrong. When examined in jail, to which she was committed with Cervantes and others, Juana Gaitán described herself as over thirty-five years of age, and as the widow of the late Pedro Láinez. She accounted for Pastrana's visits, which had given rise to scandal, by saying that she intended to dedicate to him two books by her late husband, and that Pastrana had merely called to thank her in due form. A reference to Pastrana in theViaje del Parnaso(cap. viii.) seems to suggest that Pastrana was a munificent patron:—Desde allí, y no sé cómo, fuí traídoAdonde ví al gran Duque de PastranaMil parabienes dar de bien venido;Y que la fama en la verdad ufanaContaba que agradó con su presencia,Y con su cortesía sobrehumana:Que fué nuevo Alejandro en la excelenciaDel dar, que satisfizo á todo cuantoPuede mostrar real magnificencia.It is a little unlucky that these works by Láinez, concerning the publication of which the author's zealous widow consulted Pastrana, should not after all have found their way into print. For details of the evidence in the Ezpeleta case, see Dr. Pérez Pastor'sDocumentos Cervantinos hasta ahora inéditos(Madrid, 1902), vol. ii., pp. 455-527.[218]Francisco de Figueroa,el Divino, was born at Alcalá de Henares in 1536 and is conjectured to have died as late as 1620. Very little is known of this distinguished poet. He is said to have served as a soldier in Italy where his verses won him so high a reputation that he was compared to Petrarch. He married Doña María de Vargas on February 14, 1575, at Alcalá de Henares, and travelled with the Duque de Terranova through the Low Countries in 1597. After this date he disappears. He is stated to have died at Lisbon, and to have directed that all his poems should be burned. Such of them as were saved were published at Lisbon in 1626 by Luis Tribaldos de Toledo. As noted in theIntroduction(p. xxxi.n.2) to the present version, Figueroa is the Tirsi of theGalatea. There is a strong family likeness between the poems of Figueroa and those of the Bachiller Francisco de la Torre, whose verses were issued by Quevedo in 1631. So marked is this resemblance that, as M. Ernest Mérimée has written:—"Un critique, que le paradoxe n'effraierait point, pourrait, sans trop de peine, soutenir l'identité de Francisco de la Torre et de Francisco de Figueroa." See his admirableEssai sur la vie et les œuvres de Francisco de Quevedo(Paris, 1886), p. 324.[219]Brasa, f., means red-hot coal. The word for 'charcoal' iscarbón, m.[220]The Spanish for 'letter' iscarta, f.; for a 'pack of cards'pliego de cartas, m.[221]i.e. a riddle. The Spanish is¿qué es cosa y cosa?a phrase equivalent to our 'What may this pretty thing be?'

FOOTNOTES:

[117]As theCanto de Calíopeprofesses to deal solely with living poets—algunos señalados varones que en esta vuestra España viven, y algunos en las apartadas Indias á ella sujetas—the Diego Mendoza mentioned in the twentyfifth stanza cannot refer to the celebrated historian who died ten years before theGalateawas published. But the above lament for Meliso is unquestionably dedicated to his memory. The phraseel aprisco venecianois an allusion to Diego Hurtado de Mendoza's embassy in Venice (1539-1547). It is not generally known that Mendoza visited England as special Plenipotentiary in 1537-1538 with the object of arranging two marriages: one between Mary Tudor and Prince Luiz of Portugal, and one between Henry VIII. and Charles V.'s handsome, witty niece, Dorothea of Denmark (afterwards Duchess of Milan), who declined the honour on the ground that she had only one head. Mendoza's mission was a diplomatic failure: nor does he seem to have enjoyed his stay here. He was made much of, was banqueted at Hampton Court, and confessed that life in England was pleasant enough; but he sighed for Barcelona, and was glad to pass on to the Low Countries and thence to Venice. See theCalendar of State Papers (Spain), vol. v. J. F.-K.

[117]As theCanto de Calíopeprofesses to deal solely with living poets—algunos señalados varones que en esta vuestra España viven, y algunos en las apartadas Indias á ella sujetas—the Diego Mendoza mentioned in the twentyfifth stanza cannot refer to the celebrated historian who died ten years before theGalateawas published. But the above lament for Meliso is unquestionably dedicated to his memory. The phraseel aprisco venecianois an allusion to Diego Hurtado de Mendoza's embassy in Venice (1539-1547). It is not generally known that Mendoza visited England as special Plenipotentiary in 1537-1538 with the object of arranging two marriages: one between Mary Tudor and Prince Luiz of Portugal, and one between Henry VIII. and Charles V.'s handsome, witty niece, Dorothea of Denmark (afterwards Duchess of Milan), who declined the honour on the ground that she had only one head. Mendoza's mission was a diplomatic failure: nor does he seem to have enjoyed his stay here. He was made much of, was banqueted at Hampton Court, and confessed that life in England was pleasant enough; but he sighed for Barcelona, and was glad to pass on to the Low Countries and thence to Venice. See theCalendar of State Papers (Spain), vol. v. J. F.-K.

[118]Leiva's work would seem to have disappeared. In theCasa de Memoria, which forms part of theDiversas Rimas(1591), Espinel refers to an Alonso de Leiva in much the same terms as Cervantes uses here:—El ánimo gentil, el dulce llanto,El blando estilo, con que enternecidoDon Alonso de Leyva quando cantaA Venus enamora, á Marte espanta.

[118]Leiva's work would seem to have disappeared. In theCasa de Memoria, which forms part of theDiversas Rimas(1591), Espinel refers to an Alonso de Leiva in much the same terms as Cervantes uses here:—

El ánimo gentil, el dulce llanto,El blando estilo, con que enternecidoDon Alonso de Leyva quando cantaA Venus enamora, á Marte espanta.

El ánimo gentil, el dulce llanto,El blando estilo, con que enternecidoDon Alonso de Leyva quando cantaA Venus enamora, á Marte espanta.

El ánimo gentil, el dulce llanto,El blando estilo, con que enternecidoDon Alonso de Leyva quando cantaA Venus enamora, á Marte espanta.

[119]Alonso de Ercilla y Zúñiga was born at Madrid in 1533. He was page to Philip II at the latter's marriage with Mary Tudor in Winchester Cathedral. He sailed for South America in 1555, served against the Araucanos under García Hurtado de Mendoza, Marqués de Cañete, quarrelled with a brother officer named Juan de Pineda, was sentenced to death, reprieved at the last moment, and is said to have been exiled to Callao. Ercilla returned to Spain in 1562, bringing with him the First Part of his epic poem,La Araucana, which he had composed during his campaigns. The original draft was scribbled on stray pieces of paper and scraps of leather: "que no me costó después poco trabajo juntarlos." This First Part was published at Madrid in 1569: the Second Part appeared in 1578, and the Third in 1590. The author died, a disappointed man, in 1594. For a sound appreciation of his talent seeL'Araucana, poème épique por D. Alonso de Ercilla y Zúñiga. Morceaux choisis précedés d'une étude biographique et littéraire, suivis de notes grammaticales, et de versification et de deux lexiques(Paris, 1900) by M. Jean Ducamin. A critical edition ofLa Araucanaby the eminent Chilean scholar, Sr. D. José Toribio Medina, is in preparation.Cervantes expresses the highest opinion ofLa AraucanainDon Quixote(Part I., chap. vi.) where he brackets it with Rufo'sAustriadaand Virués'sMonserrate:—"These three books," said the curate, "are the best that have been written in Castilian in heroic verse, and they may compare with the most famous of Italy; let them be preserved as the richest treasures of poetry that Spain possesses."

[119]Alonso de Ercilla y Zúñiga was born at Madrid in 1533. He was page to Philip II at the latter's marriage with Mary Tudor in Winchester Cathedral. He sailed for South America in 1555, served against the Araucanos under García Hurtado de Mendoza, Marqués de Cañete, quarrelled with a brother officer named Juan de Pineda, was sentenced to death, reprieved at the last moment, and is said to have been exiled to Callao. Ercilla returned to Spain in 1562, bringing with him the First Part of his epic poem,La Araucana, which he had composed during his campaigns. The original draft was scribbled on stray pieces of paper and scraps of leather: "que no me costó después poco trabajo juntarlos." This First Part was published at Madrid in 1569: the Second Part appeared in 1578, and the Third in 1590. The author died, a disappointed man, in 1594. For a sound appreciation of his talent seeL'Araucana, poème épique por D. Alonso de Ercilla y Zúñiga. Morceaux choisis précedés d'une étude biographique et littéraire, suivis de notes grammaticales, et de versification et de deux lexiques(Paris, 1900) by M. Jean Ducamin. A critical edition ofLa Araucanaby the eminent Chilean scholar, Sr. D. José Toribio Medina, is in preparation.

Cervantes expresses the highest opinion ofLa AraucanainDon Quixote(Part I., chap. vi.) where he brackets it with Rufo'sAustriadaand Virués'sMonserrate:—"These three books," said the curate, "are the best that have been written in Castilian in heroic verse, and they may compare with the most famous of Italy; let them be preserved as the richest treasures of poetry that Spain possesses."

[120]Barrera believed that the reference is to Juan de Silva, Conde de Portalegre, afterwards Governor and Captain-General of the Kingdom of Portugal. A collection of his letters is said to be in the Biblioteca Nacional at Madrid: Silva is further stated to have revised the manuscript of Hurtado de Mendoza'sHistoria de la Guerra de Granada, first published (posthumously) by Luis de Tribaldos de Toledo at Lisbon in 1627. He certainly wrote the introduction to Tribaldos de Toledo's edition.Juan de Silva, Conde de Portalegre, is said by Jacques-Charles Brunet (Manuel du libraire et de l'amateur de livres, Paris, 1861-1880, vol. ii., col. 217) to be the author of a work entitledDell' unione del regno di Portogallo alla corona di Castiglia, istoria del Sig. Ieronimo di Franchi Conestaggio, gentilhuomo genovese(Genova, 1585). This volume was in Montaigne's library (see M. Paul Bonnefon's valuable contribution—La Bibliothèque de Montaigne—in theRevue d'Histoire littéraire de la France, Paris, 1895, vol. ii., pp. 344-345): so also was the Spanish version of López de Castanheda'sHistoria(M. Paul Bonnefon,op. cit., p. 362). A trace of both these works is observable in the 1595 edition of theEssais(liv. ii., chap. 21,Contre la fainéantise).

[120]Barrera believed that the reference is to Juan de Silva, Conde de Portalegre, afterwards Governor and Captain-General of the Kingdom of Portugal. A collection of his letters is said to be in the Biblioteca Nacional at Madrid: Silva is further stated to have revised the manuscript of Hurtado de Mendoza'sHistoria de la Guerra de Granada, first published (posthumously) by Luis de Tribaldos de Toledo at Lisbon in 1627. He certainly wrote the introduction to Tribaldos de Toledo's edition.

Juan de Silva, Conde de Portalegre, is said by Jacques-Charles Brunet (Manuel du libraire et de l'amateur de livres, Paris, 1861-1880, vol. ii., col. 217) to be the author of a work entitledDell' unione del regno di Portogallo alla corona di Castiglia, istoria del Sig. Ieronimo di Franchi Conestaggio, gentilhuomo genovese(Genova, 1585). This volume was in Montaigne's library (see M. Paul Bonnefon's valuable contribution—La Bibliothèque de Montaigne—in theRevue d'Histoire littéraire de la France, Paris, 1895, vol. ii., pp. 344-345): so also was the Spanish version of López de Castanheda'sHistoria(M. Paul Bonnefon,op. cit., p. 362). A trace of both these works is observable in the 1595 edition of theEssais(liv. ii., chap. 21,Contre la fainéantise).

[121]The soldier, Diego Santisteban y Osorio, is known as the author of a sequel to Ercilla'sAraucana: his fourth and fifth parts were published in 1597.

[121]The soldier, Diego Santisteban y Osorio, is known as the author of a sequel to Ercilla'sAraucana: his fourth and fifth parts were published in 1597.

[122]Barrera conjectures that the allusion is to Francisco Lasso de Mendoza who wrote a prefatory sonnet for Luis Gálvez de Montalvo'sPastor de Fílida: see note 24.

[122]Barrera conjectures that the allusion is to Francisco Lasso de Mendoza who wrote a prefatory sonnet for Luis Gálvez de Montalvo'sPastor de Fílida: see note 24.

[123]Barrera states that Diego de Sarmiento y Carvajal contributed verses to thePrimera parte de la Miscelánea austral de don Diego d'Avalós y Figueroa en varios coloquios(Lima, 1603). I have not seen this work.

[123]Barrera states that Diego de Sarmiento y Carvajal contributed verses to thePrimera parte de la Miscelánea austral de don Diego d'Avalós y Figueroa en varios coloquios(Lima, 1603). I have not seen this work.

[124]Barrera fails to give any particulars of Gutierre Carvajal of whom, also, I find no trace in recent bibliographies.

[124]Barrera fails to give any particulars of Gutierre Carvajal of whom, also, I find no trace in recent bibliographies.

[125]Prefatory sonnets by the Toledan soldier, Luis de Vargas Manrique, are found in Cervantes'sGalateaand in López Maldonado'sCancionero, both published in 1585: see notes 23 and 34.

[125]Prefatory sonnets by the Toledan soldier, Luis de Vargas Manrique, are found in Cervantes'sGalateaand in López Maldonado'sCancionero, both published in 1585: see notes 23 and 34.

[126]Francisco Campuzano practised medicine at Alcalá de Henares, Cervantes's birthplace. In 1585 he contributed to López Maldonado'sCancioneroand to Padilla'sJardín espiritual: another copy of his verses precedes Gracián Dantisco'sGalateo español(1594): see notes 23, 27, and 34.

[126]Francisco Campuzano practised medicine at Alcalá de Henares, Cervantes's birthplace. In 1585 he contributed to López Maldonado'sCancioneroand to Padilla'sJardín espiritual: another copy of his verses precedes Gracián Dantisco'sGalateo español(1594): see notes 23, 27, and 34.

[127]Francisco Suárez de Sosa, a native of Medina del Campo, practised as a physician. Barrera states that Suárez de Sosa wroteDel arte como se ha de pelear contra los turcos(1549) andDe las ilustres mujeres que en el mundo ha habido; but I do not understand him to say that either of these works was printed. Barrera conjectures that Suárez de Sosa is introduced in theGalateaunder the name of Sasio.

[127]Francisco Suárez de Sosa, a native of Medina del Campo, practised as a physician. Barrera states that Suárez de Sosa wroteDel arte como se ha de pelear contra los turcos(1549) andDe las ilustres mujeres que en el mundo ha habido; but I do not understand him to say that either of these works was printed. Barrera conjectures that Suárez de Sosa is introduced in theGalateaunder the name of Sasio.

[128]Nothing seems to be known of Doctor Baza.

[128]Nothing seems to be known of Doctor Baza.

[129]I have not succeeded in identifying the Licenciado Daza with any of the Dazas mentioned by Bartolomé José Gallardo,Ensayo de una biblioteca española de libros raros y curiosos(Madrid, 1863-1889), vol. ii., cols. 750-754.

[129]I have not succeeded in identifying the Licenciado Daza with any of the Dazas mentioned by Bartolomé José Gallardo,Ensayo de una biblioteca española de libros raros y curiosos(Madrid, 1863-1889), vol. ii., cols. 750-754.

[130]The Maestro Garay, praised as adivino ingenioin Lope de Vega'sArcadia, is represented by aglosa, a copy ofredondillas, and five sonnets in Manuel Rivadeneyra'sBiblioteca de autores españoles, vol. xlii., pp. 510-511.

[130]The Maestro Garay, praised as adivino ingenioin Lope de Vega'sArcadia, is represented by aglosa, a copy ofredondillas, and five sonnets in Manuel Rivadeneyra'sBiblioteca de autores españoles, vol. xlii., pp. 510-511.

[131]Cervantes's praise of the Maestro Córdoba is confirmed by Lope de Vega in theLaurel de Apolo(silva iv.):—Hoy á las puertas de su templo llamaUna justa memoria,Digna de honor y gloria,Antes que pase el alto Guadarrama,Que mi maestro Córdoba me ofrece,Y las musas latinas me dan voces,Pues con tan justa causa la merece.

[131]Cervantes's praise of the Maestro Córdoba is confirmed by Lope de Vega in theLaurel de Apolo(silva iv.):—

Hoy á las puertas de su templo llamaUna justa memoria,Digna de honor y gloria,Antes que pase el alto Guadarrama,Que mi maestro Córdoba me ofrece,Y las musas latinas me dan voces,Pues con tan justa causa la merece.

Hoy á las puertas de su templo llamaUna justa memoria,Digna de honor y gloria,Antes que pase el alto Guadarrama,Que mi maestro Córdoba me ofrece,Y las musas latinas me dan voces,Pues con tan justa causa la merece.

Hoy á las puertas de su templo llamaUna justa memoria,Digna de honor y gloria,Antes que pase el alto Guadarrama,Que mi maestro Córdoba me ofrece,Y las musas latinas me dan voces,Pues con tan justa causa la merece.

[132]Francisco Díaz, lecturer on philosophy and medicine at the University of Alcalá de Henares, published aCompendio de Cirujia(Madrid, 1575). In 1588 Cervantes contributed a complimentary sonnet to Díaz' treatise on kidney disease:Tratado nuevamente impreso acerca de las enfermedades de los riñones. The occasion is certainly singular. It does not seem that Díaz himself published any verse.

[132]Francisco Díaz, lecturer on philosophy and medicine at the University of Alcalá de Henares, published aCompendio de Cirujia(Madrid, 1575). In 1588 Cervantes contributed a complimentary sonnet to Díaz' treatise on kidney disease:Tratado nuevamente impreso acerca de las enfermedades de los riñones. The occasion is certainly singular. It does not seem that Díaz himself published any verse.

[133]No trace of Luján's writings has, to my knowledge, been discovered. It seems unlikely that Cervantes can refer to the Pedro de Luján whoseColoquios matrimonialeswere published at Seville as early as 1550: see Gallardo,op. cit., vol. iii., col. 553.

[133]No trace of Luján's writings has, to my knowledge, been discovered. It seems unlikely that Cervantes can refer to the Pedro de Luján whoseColoquios matrimonialeswere published at Seville as early as 1550: see Gallardo,op. cit., vol. iii., col. 553.

[134]A prefatory sonnet by Juan de Vergara is found in López Maldonado'sCancionero: see note 23.

[134]A prefatory sonnet by Juan de Vergara is found in López Maldonado'sCancionero: see note 23.

[135]It may be to this writer that Agustín de Rojas Villandrando alludes in theViaje entretenido(1603):—De los farsantes que han hechofarsas, loas, bayles, letrasson Alonso de Morales,Grajales, Zorita Mesa, etc.Two romances by an Alonso de Morales are given in Rivadeneyra, vol. xvi., p. 248.

[135]It may be to this writer that Agustín de Rojas Villandrando alludes in theViaje entretenido(1603):—

De los farsantes que han hechofarsas, loas, bayles, letrasson Alonso de Morales,Grajales, Zorita Mesa, etc.

De los farsantes que han hechofarsas, loas, bayles, letrasson Alonso de Morales,Grajales, Zorita Mesa, etc.

De los farsantes que han hechofarsas, loas, bayles, letrasson Alonso de Morales,Grajales, Zorita Mesa, etc.

Two romances by an Alonso de Morales are given in Rivadeneyra, vol. xvi., p. 248.

[136]This prophecy has not been fulfilled: Hernando Maldonado's writings appear to be lost.

[136]This prophecy has not been fulfilled: Hernando Maldonado's writings appear to be lost.

[137]Lope de Vega also finds place in theLaurel de Apolo(silva iii.) forAquel ingenio, universal, profundo,El docto Marco Antonio de la Vega,Ilustre en verso y erudito en prosa.

[137]Lope de Vega also finds place in theLaurel de Apolo(silva iii.) for

Aquel ingenio, universal, profundo,El docto Marco Antonio de la Vega,Ilustre en verso y erudito en prosa.

Aquel ingenio, universal, profundo,El docto Marco Antonio de la Vega,Ilustre en verso y erudito en prosa.

Aquel ingenio, universal, profundo,El docto Marco Antonio de la Vega,Ilustre en verso y erudito en prosa.

[138]This can scarcely refer to the famous diplomatist who died in 1575. Possibly Cervantes may have alluded here to Captain Diego de Mendoza de Barros, two of whose sonnets are included in Pedro Espinosa's collection entitledFlores de poetas ilustres de España(1605). The sonnet on f. 65—"Pedís, Reyna, un soneto, ya lo hago—"may have served as Lope de Vega's model for the celebrated Sonnet on a Sonnet inLa Niña de plata. A still earlier example in this kind was given by Baltasar del Alcázar: see note 43. For French imitations of this sonnet, see M. Alfred Morel-Fatio's article in theRevue d'Histoire littéraire de la France(Paris, July 15, 1896), pp. 435-439. See also Father Matthew Russell'sSonnets on the Sonnet(London, 1898), and a note in Sr. D. Adolfo Bonilla y San Martín's Castilian version of myHistory of Spanish Literature(Madrid, 1901), p. 344.

[138]This can scarcely refer to the famous diplomatist who died in 1575. Possibly Cervantes may have alluded here to Captain Diego de Mendoza de Barros, two of whose sonnets are included in Pedro Espinosa's collection entitledFlores de poetas ilustres de España(1605). The sonnet on f. 65—

"Pedís, Reyna, un soneto, ya lo hago—"

may have served as Lope de Vega's model for the celebrated Sonnet on a Sonnet inLa Niña de plata. A still earlier example in this kind was given by Baltasar del Alcázar: see note 43. For French imitations of this sonnet, see M. Alfred Morel-Fatio's article in theRevue d'Histoire littéraire de la France(Paris, July 15, 1896), pp. 435-439. See also Father Matthew Russell'sSonnets on the Sonnet(London, 1898), and a note in Sr. D. Adolfo Bonilla y San Martín's Castilian version of myHistory of Spanish Literature(Madrid, 1901), p. 344.

[139]Diego Durán contributed a prefatory poem to López Maldonado'sCancionero: see note 23. Casiano Pellicer conjectured that Durán figures in theGalateaas Daranio: see theIntroductionto the present version, p. xlviii,n.2.

[139]Diego Durán contributed a prefatory poem to López Maldonado'sCancionero: see note 23. Casiano Pellicer conjectured that Durán figures in theGalateaas Daranio: see theIntroductionto the present version, p. xlviii,n.2.

[140]López Maldonado seems to have been on very friendly terms with Lope de Vega and, more especially, with Cervantes. InDon Quixote(Part I., chap. vi), the latter writes:—"es grande amigo mio." Lope and Cervantes both contributed prefatory verses to López Maldonado'sCancionero(1586) of which the Priest expressed a favourable opinion when examining Don Quixote's library:—"it gives rather too much of its eclogues, but what is good was never yet plentiful: let it be kept with those that have been set apart."

[140]López Maldonado seems to have been on very friendly terms with Lope de Vega and, more especially, with Cervantes. InDon Quixote(Part I., chap. vi), the latter writes:—"es grande amigo mio." Lope and Cervantes both contributed prefatory verses to López Maldonado'sCancionero(1586) of which the Priest expressed a favourable opinion when examining Don Quixote's library:—"it gives rather too much of its eclogues, but what is good was never yet plentiful: let it be kept with those that have been set apart."

[141]Luis Gálvez de Montalvo is best remembered as the author of the pastoral novel,El Pastor de Fílida(1582); see theIntroductionto the present version, pp. xxvi and xxxi.

[141]Luis Gálvez de Montalvo is best remembered as the author of the pastoral novel,El Pastor de Fílida(1582); see theIntroductionto the present version, pp. xxvi and xxxi.

[142]Pedro Liñán de Riaza's poems have been collected in the first volume of theBiblioteca de escritores aragoneses(Zaragoza, 1876). Concerning some supplementary pieces, omitted in this edition, see Professor Emilio Teza,Der Cancionero von Neapel, inRomanische Forschungen(Erlangen, 1893), vol. vii., pp. 138-144. Sr. D. Adolfo Bonilla y San Martín conjectures that Liñán de Riaza may have had some part in connection with Avellaneda's spurious continuation ofDon Quixote: see the elaborate note in his Castilian version of myHistory of Spanish Literature(Madrid, 1901), pp. 371-374.

[142]Pedro Liñán de Riaza's poems have been collected in the first volume of theBiblioteca de escritores aragoneses(Zaragoza, 1876). Concerning some supplementary pieces, omitted in this edition, see Professor Emilio Teza,Der Cancionero von Neapel, inRomanische Forschungen(Erlangen, 1893), vol. vii., pp. 138-144. Sr. D. Adolfo Bonilla y San Martín conjectures that Liñán de Riaza may have had some part in connection with Avellaneda's spurious continuation ofDon Quixote: see the elaborate note in his Castilian version of myHistory of Spanish Literature(Madrid, 1901), pp. 371-374.

[143]Alonso de Valdés wrote a prologue in praise of poetry to Vicente Espinel'sDiversas rimas: see note 46.

[143]Alonso de Valdés wrote a prologue in praise of poetry to Vicente Espinel'sDiversas rimas: see note 46.

[144]Pedro de Padilla and Cervantes were on excellent terms: "es amigo mio," says the latter inDon Quixote(Part I., chap. vi). Cervantes contributed complimentary verses to Padilla'sRomancero(1583), to hisJardín espiritual(1585), and to his posthumousGrandezas y Excelencias de la Virgen(1587). Padilla died in August 1585, shortly after the publication of theGalatea: hisRomancerohas been reprinted (1880) by the Sociedad de Bibliófilos españoles.

[144]Pedro de Padilla and Cervantes were on excellent terms: "es amigo mio," says the latter inDon Quixote(Part I., chap. vi). Cervantes contributed complimentary verses to Padilla'sRomancero(1583), to hisJardín espiritual(1585), and to his posthumousGrandezas y Excelencias de la Virgen(1587). Padilla died in August 1585, shortly after the publication of theGalatea: hisRomancerohas been reprinted (1880) by the Sociedad de Bibliófilos españoles.

[145]I have met with no other allusion to Gaspar Alfonso.

[145]I have met with no other allusion to Gaspar Alfonso.

[146]Theheróicos versosof Cristóbal de Mesa are of no remarkable merit. Besides translations of Virgil, and the tragedyPompeyo(1615), he publishedLas Navas de Tolosa(1594),La Restauración de España(1607), theValle de lágrimas(1607), andEl Patrón de España(1611).

[146]Theheróicos versosof Cristóbal de Mesa are of no remarkable merit. Besides translations of Virgil, and the tragedyPompeyo(1615), he publishedLas Navas de Tolosa(1594),La Restauración de España(1607), theValle de lágrimas(1607), andEl Patrón de España(1611).

[147]Many Riberas figure in the bibliographies, but apparently none of them is named Pedro.

[147]Many Riberas figure in the bibliographies, but apparently none of them is named Pedro.

[148]Benito de Caldera's translation of Camões'sLusiadaswas issued at Alcalá de Henares in 1580. Láinez, Garay, Gálvez de Montalvo, and Vergara—all four eulogized in thisCanto de Calíope—contributed prefatory poems.

[148]Benito de Caldera's translation of Camões'sLusiadaswas issued at Alcalá de Henares in 1580. Láinez, Garay, Gálvez de Montalvo, and Vergara—all four eulogized in thisCanto de Calíope—contributed prefatory poems.

[149]Besides a well-knownglosaon Jorge Manrique'sCoplas, Francisco de Guzmán published theTriumphos Moralesand theDecretos de Sabiosat Alcalá de Henares in 1565.

[149]Besides a well-knownglosaon Jorge Manrique'sCoplas, Francisco de Guzmán published theTriumphos Moralesand theDecretos de Sabiosat Alcalá de Henares in 1565.

[150]This stanza is supposed by Barrera to refer to Juan de Salcedo Villandrando who wrote a prefatory sonnet for Diego d'Avalós y Figueroa'sMiscelánea austral(Lima, 1602).

[150]This stanza is supposed by Barrera to refer to Juan de Salcedo Villandrando who wrote a prefatory sonnet for Diego d'Avalós y Figueroa'sMiscelánea austral(Lima, 1602).

[151]This Tomás Gracián Dantisco was the grandson of Diego García,camarero mayorat the court of the Catholic Kings, and son of Diego Gracián de Alderete, Secretary of State and official Interpreter during the reigns of Charles V. and Philip II. The latter studied at the University of Louvain where his name was wrongly Latinized as Gratianus (instead of Gracianus), and, on his return to Spain, he adopted the form Gracián. He married a daughter of Johannes de Curiis, called (from his birthplace) Dantiscus, successively Bishop of Culm (June, 1530) and of West Ermeland (January, 1538), and Polish ambassador at the court of Charles V.: see Leo Czaplicki,De vita et carminibus Joannis de Curiis Dantisci(Vratislaviae, 1855). Some of Diego Gracián de Alderete's letters are included by Sr. D. Adolfo Bonilla y San Martín in his very interesting collection entitledClarorum Hispaniensium epistolae ineditae(Paris, 1901), printed in theRevue Hispanique(Paris, 1901), vol. viii., pp. 181-308.Tomás Gracián Dantisco succeeded his father as official Interpreter, and published anArte de escribir cartas familiares(1589). His brother, Lucás Gracián Dantisco, signed theAprobaciónto theGalatea: see theIntroductionto the present version, p. x,n.4. Another brother, Antonio Gracián Dantisco, secretary to the King, was a good Greek scholar. He translated a treatise by Hero of Alexandria under the titleDe los Pneumaticos, ó machuinas que se hazen por atraccion de vacio. The manuscript has apparently disappeared; but it existed as late as the time of Nicolás Antonio (Bibliotheca Hispana, Romae, 1672, vol. i., p. 98). See also Charles Graux'Essai sur les origines du fonds grec de l'Escurial(Paris, 1880), which forms the 46thfasciculeof theBibliothèque de l'École des Hautes Etudes, and an interesting note by M. Alfred Morel-Fatio in theBulletin hispanique(Bordeaux, 1902), vol. iv., p. 282.

[151]This Tomás Gracián Dantisco was the grandson of Diego García,camarero mayorat the court of the Catholic Kings, and son of Diego Gracián de Alderete, Secretary of State and official Interpreter during the reigns of Charles V. and Philip II. The latter studied at the University of Louvain where his name was wrongly Latinized as Gratianus (instead of Gracianus), and, on his return to Spain, he adopted the form Gracián. He married a daughter of Johannes de Curiis, called (from his birthplace) Dantiscus, successively Bishop of Culm (June, 1530) and of West Ermeland (January, 1538), and Polish ambassador at the court of Charles V.: see Leo Czaplicki,De vita et carminibus Joannis de Curiis Dantisci(Vratislaviae, 1855). Some of Diego Gracián de Alderete's letters are included by Sr. D. Adolfo Bonilla y San Martín in his very interesting collection entitledClarorum Hispaniensium epistolae ineditae(Paris, 1901), printed in theRevue Hispanique(Paris, 1901), vol. viii., pp. 181-308.

Tomás Gracián Dantisco succeeded his father as official Interpreter, and published anArte de escribir cartas familiares(1589). His brother, Lucás Gracián Dantisco, signed theAprobaciónto theGalatea: see theIntroductionto the present version, p. x,n.4. Another brother, Antonio Gracián Dantisco, secretary to the King, was a good Greek scholar. He translated a treatise by Hero of Alexandria under the titleDe los Pneumaticos, ó machuinas que se hazen por atraccion de vacio. The manuscript has apparently disappeared; but it existed as late as the time of Nicolás Antonio (Bibliotheca Hispana, Romae, 1672, vol. i., p. 98). See also Charles Graux'Essai sur les origines du fonds grec de l'Escurial(Paris, 1880), which forms the 46thfasciculeof theBibliothèque de l'École des Hautes Etudes, and an interesting note by M. Alfred Morel-Fatio in theBulletin hispanique(Bordeaux, 1902), vol. iv., p. 282.

[152]In theDorotea(Act iv. sc. ii.) Lope de Vega speaks of "Bautista de Vivar, monstruo de naturaleza en decir versos de improviso con admirable impulso de las musas"; but Vivar's merits must be taken on trust, for his writings have not been printed. A certain Vivar, author of some versesá lo divino, is mentioned by Gallardo (op. cit., vol. i., col. 1023), but no specimens are given from the manuscript which was in existence as late as November 1, 1844.The phrase—monstruo de naturaleza—applied by Lope to Vivar was applied by Cervantes to Lope in the preface to hisOcho Comedias y ocho entremeses nuevos(Madrid, 1615). It occurs also in Lope'sHermosa Ester, the autograph of which, dated April 5, 1610, is in the British Museum Library, Egerton MSS. 547. Mr. Henry Edward Watts (Miguel de Cervantes, his life & works, London, 1895, p. 109) contends that Cervantes uses the expression "in bad part" (i.e. in a sense derogatory to Lope), and cites as a parallel case the employment of it inDon Quixote(Part I. chap. xlvi) where Sancho Panza is described as "monstruo de naturaleza, almario de embustes, silo de bellaquerías, inventor de maldades, publicador de sandeces," and so forth. The wordsmonstruo de naturalezaare, no doubt, open to two interpretations. It is, however, inconceivable that Cervantes would offer so gross an insult to his successful rival as is thus imputed to him. In his bickerings with Lope, Cervantes may sometimes forget himself, as will happen to the best of men at times; but such vulgarity as this is absolutely unlike him. It may be as well to note that the expression—monstruo de naturaleza—was current as a compliment long before either Cervantes or Lope used it; it will be found in Pedro de Cáceres y Espinosa's preliminaryDiscursoto the poems of Gregorio Silvestre published in 1582.Students of Spanish literary history will remember that Vivar's name was introduced by one of the witnesses who appeared against Lope de Vega when the latter was prosecuted for criminal libel at the beginning of 1588. Luis Vargas de Manrique (mentioned in note 8) was reported by this witness as saying that, on the internal evidence, one of the scandalous ballads which formed the basis of the charge might be attributed to four or five different persons: "it may be by Liñán (mentioned in note 25) who is not here, or by Cervantes, and he is not here, and, since it is not mine, it may be by Vivar, or by Lope de Vega, though Lope de Vega, if he had written it, would not so malign himself." See theProceso de Lope de Vega por libelo contra unos cómicos(Madrid, 1901) by the Sres. Tomillo and Pérez Pastor.

[152]In theDorotea(Act iv. sc. ii.) Lope de Vega speaks of "Bautista de Vivar, monstruo de naturaleza en decir versos de improviso con admirable impulso de las musas"; but Vivar's merits must be taken on trust, for his writings have not been printed. A certain Vivar, author of some versesá lo divino, is mentioned by Gallardo (op. cit., vol. i., col. 1023), but no specimens are given from the manuscript which was in existence as late as November 1, 1844.

The phrase—monstruo de naturaleza—applied by Lope to Vivar was applied by Cervantes to Lope in the preface to hisOcho Comedias y ocho entremeses nuevos(Madrid, 1615). It occurs also in Lope'sHermosa Ester, the autograph of which, dated April 5, 1610, is in the British Museum Library, Egerton MSS. 547. Mr. Henry Edward Watts (Miguel de Cervantes, his life & works, London, 1895, p. 109) contends that Cervantes uses the expression "in bad part" (i.e. in a sense derogatory to Lope), and cites as a parallel case the employment of it inDon Quixote(Part I. chap. xlvi) where Sancho Panza is described as "monstruo de naturaleza, almario de embustes, silo de bellaquerías, inventor de maldades, publicador de sandeces," and so forth. The wordsmonstruo de naturalezaare, no doubt, open to two interpretations. It is, however, inconceivable that Cervantes would offer so gross an insult to his successful rival as is thus imputed to him. In his bickerings with Lope, Cervantes may sometimes forget himself, as will happen to the best of men at times; but such vulgarity as this is absolutely unlike him. It may be as well to note that the expression—monstruo de naturaleza—was current as a compliment long before either Cervantes or Lope used it; it will be found in Pedro de Cáceres y Espinosa's preliminaryDiscursoto the poems of Gregorio Silvestre published in 1582.

Students of Spanish literary history will remember that Vivar's name was introduced by one of the witnesses who appeared against Lope de Vega when the latter was prosecuted for criminal libel at the beginning of 1588. Luis Vargas de Manrique (mentioned in note 8) was reported by this witness as saying that, on the internal evidence, one of the scandalous ballads which formed the basis of the charge might be attributed to four or five different persons: "it may be by Liñán (mentioned in note 25) who is not here, or by Cervantes, and he is not here, and, since it is not mine, it may be by Vivar, or by Lope de Vega, though Lope de Vega, if he had written it, would not so malign himself." See theProceso de Lope de Vega por libelo contra unos cómicos(Madrid, 1901) by the Sres. Tomillo and Pérez Pastor.

[153]Baltasar de Toledo's writings have not been traced.

[153]Baltasar de Toledo's writings have not been traced.

[154]Lope Félix de Vega Carpio was born at Madrid on November 25, 1562, and died there on August 27, 1635. A soldier, a poet, a novelist, a dramatist, and a priest, he ranks next to Cervantes in the history of Spanish literature. It is impossible to give any notion of his powers within the compass of a note. According to Pérez de Montalbán, Lope was the author of 1800 plays and 400autos: some 400 plays and some 50autossurvive, apart from innumerable miscellaneous works. Lope'sObras completasare now being issued by the Royal Spanish Academy under the editorship of Sr. D. Marcelino Menéndez y Pelayo, and each succeeding volume—thirteen quarto volumes have already been issued to subscribers—goes to justify his immense reputation. A short summary of his dramatic achievement is given in my lecture onLope de Vega and the Spanish Drama(Glasgow and London, 1902); for fuller details of this amazing genius and his work see Professor Hugo Albert Rennert's admirable biography (Glasgow, 1903).

[154]Lope Félix de Vega Carpio was born at Madrid on November 25, 1562, and died there on August 27, 1635. A soldier, a poet, a novelist, a dramatist, and a priest, he ranks next to Cervantes in the history of Spanish literature. It is impossible to give any notion of his powers within the compass of a note. According to Pérez de Montalbán, Lope was the author of 1800 plays and 400autos: some 400 plays and some 50autossurvive, apart from innumerable miscellaneous works. Lope'sObras completasare now being issued by the Royal Spanish Academy under the editorship of Sr. D. Marcelino Menéndez y Pelayo, and each succeeding volume—thirteen quarto volumes have already been issued to subscribers—goes to justify his immense reputation. A short summary of his dramatic achievement is given in my lecture onLope de Vega and the Spanish Drama(Glasgow and London, 1902); for fuller details of this amazing genius and his work see Professor Hugo Albert Rennert's admirable biography (Glasgow, 1903).

[155]Francisco Pacheco, uncle of the author of theArte de la pintura, was born in 1535 and died in 1599. Some specimens of his skill in writing occasional Latin verses are extant in Seville Cathedral—of which he was a canon. A Latin composition from the same pen will be found in Herrera's edition of Garcilaso, for which see note 39.

[155]Francisco Pacheco, uncle of the author of theArte de la pintura, was born in 1535 and died in 1599. Some specimens of his skill in writing occasional Latin verses are extant in Seville Cathedral—of which he was a canon. A Latin composition from the same pen will be found in Herrera's edition of Garcilaso, for which see note 39.

[156]Fernando de Herrera, the chief of the Seville school of poets, was born in 1534 and died in 1597. Herrera, who was a cleric but not a priest, dedicated many of his poems (1582) to the Condesa de Gelves, and there is interminable discussion as to whether these verses are to be taken in a Platonic sense, or not. Besides being a distinguished lyrical poet, Herrera proved himself an excellent critic in theAnotacionesin his edition of Garcilaso de la Vega (1580). This commentary was the occasion of a clever, scurrilous attack, circulated under the pseudonym of Prete Jacopín, by Juan Fernández de Velasco, Conde de Haro, who resented the audacity of an Andaluz in presuming to edit a Castilian poet. Haro evidently thought that invective was an ornament of debate, for inObservación XI.he calls his opponentydiotíssimo, and inObservación XXVII.he calls Herrera an ass: "sois Asno y no León."Cervantes was a great admirer of Herrera whose death he commemorated in a sonnet. Moreover, he wove into the short dedication of the First Part ofDon Quixote(to the Duque de Béjar) phrases borrowed from the dedication in Herrera's edition of Garcilaso: see vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.

[156]Fernando de Herrera, the chief of the Seville school of poets, was born in 1534 and died in 1597. Herrera, who was a cleric but not a priest, dedicated many of his poems (1582) to the Condesa de Gelves, and there is interminable discussion as to whether these verses are to be taken in a Platonic sense, or not. Besides being a distinguished lyrical poet, Herrera proved himself an excellent critic in theAnotacionesin his edition of Garcilaso de la Vega (1580). This commentary was the occasion of a clever, scurrilous attack, circulated under the pseudonym of Prete Jacopín, by Juan Fernández de Velasco, Conde de Haro, who resented the audacity of an Andaluz in presuming to edit a Castilian poet. Haro evidently thought that invective was an ornament of debate, for inObservación XI.he calls his opponentydiotíssimo, and inObservación XXVII.he calls Herrera an ass: "sois Asno y no León."

Cervantes was a great admirer of Herrera whose death he commemorated in a sonnet. Moreover, he wove into the short dedication of the First Part ofDon Quixote(to the Duque de Béjar) phrases borrowed from the dedication in Herrera's edition of Garcilaso: see vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.

[157]Thatel culto Cangashad a high reputation appears from the allusion in theRestauración de España(lib. x. est. 108) of Cristóbal de Mesa who also dedicated a sonnet to him in theRimas(Madrid, 1611), f. 230.

[157]Thatel culto Cangashad a high reputation appears from the allusion in theRestauración de España(lib. x. est. 108) of Cristóbal de Mesa who also dedicated a sonnet to him in theRimas(Madrid, 1611), f. 230.

[158]Two sonnets by Cristóbal de Villaroel are given in Espinosa'sFlores de poetas ilustres de España(1605). This extremely rare work, together with the supplementaryFlores(1611) gathered by Juan Antonio Calderón, has been edited with great skill by Sr. D. Francisco Rodríguez Marín who, fortunately for students, undertook to finish the work begun by Sr. D. Juan Quirós de los Ríos. Two additional sonnets by Villaroel precede Enrique Garcés's rendering of Petrarch: see note 68.

[158]Two sonnets by Cristóbal de Villaroel are given in Espinosa'sFlores de poetas ilustres de España(1605). This extremely rare work, together with the supplementaryFlores(1611) gathered by Juan Antonio Calderón, has been edited with great skill by Sr. D. Francisco Rodríguez Marín who, fortunately for students, undertook to finish the work begun by Sr. D. Juan Quirós de los Ríos. Two additional sonnets by Villaroel precede Enrique Garcés's rendering of Petrarch: see note 68.

[159]Francisco de Medina was born at Seville about 1550 and died there in 1615. This pleasing poet was of great assistance to Herrera in the work of editing Garcilaso. Herrera's edition, which includes examples of Medina's verse, also contains a preface by Medina which was utilized by Cervantes in the dedication of theFirst Part of Don Quixote: see note 39 and vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.

[159]Francisco de Medina was born at Seville about 1550 and died there in 1615. This pleasing poet was of great assistance to Herrera in the work of editing Garcilaso. Herrera's edition, which includes examples of Medina's verse, also contains a preface by Medina which was utilized by Cervantes in the dedication of theFirst Part of Don Quixote: see note 39 and vol. iii. of the present edition (Glasgow, 1901), pp. 3-4.

[160]Baltasar del Alcázar was born in 1540 and died in 1606. His graceful, witty poems were reissued in 1878 by the Sociedad de Bibliófilos Andaluces. Alcázar's Sonnet on a Sonnet (see note 21) lacks a line in the version printed by Gallardo,op. cit., vol. i., col. 75.

[160]Baltasar del Alcázar was born in 1540 and died in 1606. His graceful, witty poems were reissued in 1878 by the Sociedad de Bibliófilos Andaluces. Alcázar's Sonnet on a Sonnet (see note 21) lacks a line in the version printed by Gallardo,op. cit., vol. i., col. 75.

[161]Cristóbal Mosquera de Figueroa was born in 1553 and died in 1610. He is best known as the author of aComentario en breve compendio de disciplina militar(Madrid, 1596) for which Cervantes wrote a sonnet on the famous Marqués de Santa Cruz. Specimens of Mosquera de Figueroa's verse are to be found in Herrera's edition of Garcilaso.

[161]Cristóbal Mosquera de Figueroa was born in 1553 and died in 1610. He is best known as the author of aComentario en breve compendio de disciplina militar(Madrid, 1596) for which Cervantes wrote a sonnet on the famous Marqués de Santa Cruz. Specimens of Mosquera de Figueroa's verse are to be found in Herrera's edition of Garcilaso.

[162]The Sevillian priest, Domingo de Becerra, as appears from Fernández de Navarrete'sVida de Cervantes Saavedra(Madrid, 1819, pp. 386-387), was a prisoner in Algiers with Cervantes, and was ransomed at the same time as the latter. Becerra was then (1580) forty-five years of age. He translated Giovanni Della Casa'sIl Galateo, and published his version at Venice in 1585.

[162]The Sevillian priest, Domingo de Becerra, as appears from Fernández de Navarrete'sVida de Cervantes Saavedra(Madrid, 1819, pp. 386-387), was a prisoner in Algiers with Cervantes, and was ransomed at the same time as the latter. Becerra was then (1580) forty-five years of age. He translated Giovanni Della Casa'sIl Galateo, and published his version at Venice in 1585.

[163]Vicente Espinel was born in 1550 and is conjectured to have died between 1624 and 1634. He is said to have added a fifth string to the guitar, and to have introducedespinelas: "perdónesele Dios," is Lope's comment in theDorotea(act. i. sc. vii.). Espinel'sDiversas rimas(1591) are now only known to students; but his picaresque novel,Marcos de Obregón(Madrid, 1618), still finds, and deserves to find, many readers. In the 1775 edition of theSiècle de Louis XIV.Voltaire alleged thatGil Blaswas "entièrement pris du roman espagnolLa Vidad de lo Escudiero Dom Marcos d'Obrego." It will be observed that, in transcribing the title, Voltaire makes almost as many mistakes as the number of words allows. His statement is a grotesque exaggeration, but it had the merit of suggesting a successful practical joke to José Francisco de Isla. This sly wag translatedGil Blasinto Spanish, mischievously pretending that the book was thus "restored to its country and native language by a jealous Spaniard who will not allow his nation to be made fun of." Unluckily, the naughty Jesuit did not live to see the squabbles of the learned critics who fell into the trap that he had baited for them. It is, by the way, a curious and disputed point whether the Comte de Neufchâteau's celebratedExamen de la question de savoir si Lesage est l'auteur de Gil Blas ou s'il l'a pris de l'espagnol(1818) was, or was not, taken word for word from a juvenile essay by Victor Hugo: seeVictor Hugo raconté par un témoin de sa vie(Bruxelles and Leipzig, 1863), vol. i., p. 396. In theAdjunta al ParnasoCervantes calls Espinel "uno de los más antiguos y verdaderos amigos que yo tengo." In hisRimasEspinel had been most complimentary to Cervantes. But Pellicer and Fernández de Navarrete have spoken harshly of him for being (as they imagined) jealous of the success ofDon Quixote; and Mr. Henry Edward Watts (op. cit., p. 157,n.1) asserts that Espinel "took occasion after Cervantes' death to speak of his ownMarcos de Obregón... as superior toDon Quixote." This is not so. There may be authors who suppose that their immortal masterpieces are superior to the ephemeral writings of everybody else: but they seldom say this—at least, in print. Nor did Espinel. It must suffice, for the moment, to note that the above-mentioned fable is mainly based on the fact that the Gongoresque poet and preacher, Hortensio Félix Paravicino y Arteaga, wrote as follows in hisAprobación to Marcos de Obregón: "El Libro del Escudero, que escriuio el Maestro Espinel, y V. M. me manda censurar, he visto, y no hallo en el cosa que se oponga à nuestra santa Fè Catolica Romana, ni ofenda à la piedad de las buenas costumbres della, antes de los libros deste género, que parece de entretenimiento comun, es el que con más razón deue ser impreso, por tener el prouecho tan cerca del deleyte, que sin perjudicar enseña, y sin diuertir entretiene: el estilo, la inuencion, el gusto de las cosas, y la moralidad, que deduze dellas, arguyen bien la pluma que la ha escrito, tan justamente celebrada en todas naciones. A mi alomenos de los libros deste argumento me parece la mejor cosa que nuestra lengua tendrà, y que V.m. deue darle vna aprouacion muy honrada. Guarde nuestro Señor à V. M."It is Paravicino, not Espinel, who speaks: and the eulogistic phrases which he uses do not exceed the limits of the recognized convention on such occasions.

[163]Vicente Espinel was born in 1550 and is conjectured to have died between 1624 and 1634. He is said to have added a fifth string to the guitar, and to have introducedespinelas: "perdónesele Dios," is Lope's comment in theDorotea(act. i. sc. vii.). Espinel'sDiversas rimas(1591) are now only known to students; but his picaresque novel,Marcos de Obregón(Madrid, 1618), still finds, and deserves to find, many readers. In the 1775 edition of theSiècle de Louis XIV.Voltaire alleged thatGil Blaswas "entièrement pris du roman espagnolLa Vidad de lo Escudiero Dom Marcos d'Obrego." It will be observed that, in transcribing the title, Voltaire makes almost as many mistakes as the number of words allows. His statement is a grotesque exaggeration, but it had the merit of suggesting a successful practical joke to José Francisco de Isla. This sly wag translatedGil Blasinto Spanish, mischievously pretending that the book was thus "restored to its country and native language by a jealous Spaniard who will not allow his nation to be made fun of." Unluckily, the naughty Jesuit did not live to see the squabbles of the learned critics who fell into the trap that he had baited for them. It is, by the way, a curious and disputed point whether the Comte de Neufchâteau's celebratedExamen de la question de savoir si Lesage est l'auteur de Gil Blas ou s'il l'a pris de l'espagnol(1818) was, or was not, taken word for word from a juvenile essay by Victor Hugo: seeVictor Hugo raconté par un témoin de sa vie(Bruxelles and Leipzig, 1863), vol. i., p. 396. In theAdjunta al ParnasoCervantes calls Espinel "uno de los más antiguos y verdaderos amigos que yo tengo." In hisRimasEspinel had been most complimentary to Cervantes. But Pellicer and Fernández de Navarrete have spoken harshly of him for being (as they imagined) jealous of the success ofDon Quixote; and Mr. Henry Edward Watts (op. cit., p. 157,n.1) asserts that Espinel "took occasion after Cervantes' death to speak of his ownMarcos de Obregón... as superior toDon Quixote." This is not so. There may be authors who suppose that their immortal masterpieces are superior to the ephemeral writings of everybody else: but they seldom say this—at least, in print. Nor did Espinel. It must suffice, for the moment, to note that the above-mentioned fable is mainly based on the fact that the Gongoresque poet and preacher, Hortensio Félix Paravicino y Arteaga, wrote as follows in hisAprobación to Marcos de Obregón: "El Libro del Escudero, que escriuio el Maestro Espinel, y V. M. me manda censurar, he visto, y no hallo en el cosa que se oponga à nuestra santa Fè Catolica Romana, ni ofenda à la piedad de las buenas costumbres della, antes de los libros deste género, que parece de entretenimiento comun, es el que con más razón deue ser impreso, por tener el prouecho tan cerca del deleyte, que sin perjudicar enseña, y sin diuertir entretiene: el estilo, la inuencion, el gusto de las cosas, y la moralidad, que deduze dellas, arguyen bien la pluma que la ha escrito, tan justamente celebrada en todas naciones. A mi alomenos de los libros deste argumento me parece la mejor cosa que nuestra lengua tendrà, y que V.m. deue darle vna aprouacion muy honrada. Guarde nuestro Señor à V. M."

It is Paravicino, not Espinel, who speaks: and the eulogistic phrases which he uses do not exceed the limits of the recognized convention on such occasions.

[164]Jerónimo Sánchez de Carranza was introduced to England by Ben Jonson as an authority on honour and arms. Bobadil, inEvery Man in his humour(Act 1, sc. 4) says:—"By the foot of Pharaoh, an' 'twere my case now I should send him a chartel presently. The bastinado, a most proper and sufficient dependence, warranted by the great Carranza." Carranza wrote thePhilosophia y destreza de las armas(Sanlúcar de Barrameda, 1582); a later treatise, theLibro de las grandezas de la espada(Madrid, 1600) was issued by the counter-expert of the next generation, Luis Pacheco de Narváez. I need scarcely remind most readers that Pacheco de Narváez, the famous fencing-master, was ignominiously disarmed by Quevedo—an incomparable hand with the foil, despite his lameness and short sight. Pacheco naturally smarted under the disgrace, and seems to have shown his resentment in an unpleasant fashion whenever he had an opportunity. The respective merits of Carranza and Pacheco divided Madrid into two camps. Literary men were prominent in the fray. Suárez de Figueroa, Vélez de Guevara, and Ruiz de Alarcón declared for Pacheco. Among Carranza's partisans were Luis Mendoza de Carmona and, as might be expected, Quevedo who mentions theLibro de las grandezas de la espadain hisHistoria de la vida del Buscón(lib. i. cap. viii.).

[164]Jerónimo Sánchez de Carranza was introduced to England by Ben Jonson as an authority on honour and arms. Bobadil, inEvery Man in his humour(Act 1, sc. 4) says:—"By the foot of Pharaoh, an' 'twere my case now I should send him a chartel presently. The bastinado, a most proper and sufficient dependence, warranted by the great Carranza." Carranza wrote thePhilosophia y destreza de las armas(Sanlúcar de Barrameda, 1582); a later treatise, theLibro de las grandezas de la espada(Madrid, 1600) was issued by the counter-expert of the next generation, Luis Pacheco de Narváez. I need scarcely remind most readers that Pacheco de Narváez, the famous fencing-master, was ignominiously disarmed by Quevedo—an incomparable hand with the foil, despite his lameness and short sight. Pacheco naturally smarted under the disgrace, and seems to have shown his resentment in an unpleasant fashion whenever he had an opportunity. The respective merits of Carranza and Pacheco divided Madrid into two camps. Literary men were prominent in the fray. Suárez de Figueroa, Vélez de Guevara, and Ruiz de Alarcón declared for Pacheco. Among Carranza's partisans were Luis Mendoza de Carmona and, as might be expected, Quevedo who mentions theLibro de las grandezas de la espadain hisHistoria de la vida del Buscón(lib. i. cap. viii.).

[165]Two sonnets by Lázaro Luis Iranzo are given in Rivadeneyra,op. cit., vol. iv., pp. 180, 364.

[165]Two sonnets by Lázaro Luis Iranzo are given in Rivadeneyra,op. cit., vol. iv., pp. 180, 364.

[166]Baltasar de Escobar is represented in Espinosa'sFlores de poetas ilustres: a complimentary letter addressed by Escobar to Cristóbal de Virués is printed in Rivadeneyra,op. cit., vol. lxii., p. 37.

[166]Baltasar de Escobar is represented in Espinosa'sFlores de poetas ilustres: a complimentary letter addressed by Escobar to Cristóbal de Virués is printed in Rivadeneyra,op. cit., vol. lxii., p. 37.

[167]A sonnet on the sack of Cádiz by Juan Sanz de Zumeta is given in Juan Antonio Pellicer's edition ofDon Quixote(Madrid, 1797-1798), vol. i., p. lxxxvi.

[167]A sonnet on the sack of Cádiz by Juan Sanz de Zumeta is given in Juan Antonio Pellicer's edition ofDon Quixote(Madrid, 1797-1798), vol. i., p. lxxxvi.

[168]The correct, full form of this writer's name seems to be Juan de la Cueva de Garoza. He is conjectured to have been born in 1550 and to have died in 1609. This interesting dramatist was among the most distinguished of Lope de Vega's immediate predecessors, and in such plays asEl Cerco de Zamorahe comes near anticipating Lope's methods. In hisExemplar poético(1609) Cueva declares that he was the first to bring kings upon the stage, an innovation that was censured at the time:—A mi me culpan de que fuí el primeroque Reyes y Deydades di al teatrode las Comedias traspasando el fuero.Evidently Cueva did not know that Torres Naharro introduces a king in hisAquilana. A reprint of Cueva's plays is urgently needed: his purely poetic work is of slight value. An edition ofEl Viage de Sannio, with an admirable Introduction by Professor Fredrik Amadeus Wulff will be found in theActa Universitatis Lundensis(Lund, 1887-1888), (Philosophi, Språkvetenskap och Historia), vol. xxiii.

[168]The correct, full form of this writer's name seems to be Juan de la Cueva de Garoza. He is conjectured to have been born in 1550 and to have died in 1609. This interesting dramatist was among the most distinguished of Lope de Vega's immediate predecessors, and in such plays asEl Cerco de Zamorahe comes near anticipating Lope's methods. In hisExemplar poético(1609) Cueva declares that he was the first to bring kings upon the stage, an innovation that was censured at the time:—

A mi me culpan de que fuí el primeroque Reyes y Deydades di al teatrode las Comedias traspasando el fuero.

A mi me culpan de que fuí el primeroque Reyes y Deydades di al teatrode las Comedias traspasando el fuero.

A mi me culpan de que fuí el primeroque Reyes y Deydades di al teatrode las Comedias traspasando el fuero.

Evidently Cueva did not know that Torres Naharro introduces a king in hisAquilana. A reprint of Cueva's plays is urgently needed: his purely poetic work is of slight value. An edition ofEl Viage de Sannio, with an admirable Introduction by Professor Fredrik Amadeus Wulff will be found in theActa Universitatis Lundensis(Lund, 1887-1888), (Philosophi, Språkvetenskap och Historia), vol. xxiii.

[169]Nothing by Adán Vivaldo has survived, apparently. Cervantes assigns this surname to a minor character inDon Quixote(Part I., chap. xiii.).

[169]Nothing by Adán Vivaldo has survived, apparently. Cervantes assigns this surname to a minor character inDon Quixote(Part I., chap. xiii.).

[170]It would be interesting to know how far this panegyric on Juan Aguayo was justified. I have failed to find any information concerning him or his works.

[170]It would be interesting to know how far this panegyric on Juan Aguayo was justified. I have failed to find any information concerning him or his works.

[171]The dates of the birth and death of the Cordoban poet, Juan Rufo Gutiérrez, are given conjecturally as 1530 and 1600. Cervantes esteemed Rufo'sAustriadainordinately: see note 2. In truth theAustriadais a tedious performance, being merely a poor rhythmical arrangement of Diego Hurtado de Mendoza'sGuerra de Granada. Mendoza's history was not published till 1627, long after the author's death (1575). It was issued at Lisbon by Luis Tribaldos de Toledo who, in the previous year, had brought out a posthumous edition of the poems of Francisco de Figueroa—the Tirsi of theGalatea. Evidently, then, Rufo read theGuerra de Granadain manuscript: see M. Foulché-Delbosc's article in theRevue hispanique(Paris, 1894), vol. i., pp. 137-138,n.

[171]The dates of the birth and death of the Cordoban poet, Juan Rufo Gutiérrez, are given conjecturally as 1530 and 1600. Cervantes esteemed Rufo'sAustriadainordinately: see note 2. In truth theAustriadais a tedious performance, being merely a poor rhythmical arrangement of Diego Hurtado de Mendoza'sGuerra de Granada. Mendoza's history was not published till 1627, long after the author's death (1575). It was issued at Lisbon by Luis Tribaldos de Toledo who, in the previous year, had brought out a posthumous edition of the poems of Francisco de Figueroa—the Tirsi of theGalatea. Evidently, then, Rufo read theGuerra de Granadain manuscript: see M. Foulché-Delbosc's article in theRevue hispanique(Paris, 1894), vol. i., pp. 137-138,n.

[172]Luis de Góngora y Argote was born in 1561 and died in 1627. His father, Francisco de Argote, was Corregidor of Córdoba, and it has been generally stated that the poet assumed his mother's maiden name. However, the Sra. Doña Blanca de los Ríos y de Lampérez alleges that Góngora's real name was Luis de Argote y Argote: see an article entitledDe vuelta de Salamanca in La España moderna(Madrid, June 1897). I do not know precisely upon what ground this statement is made. Despite the perverse affectations into which hisculteranismoled him, Góngora is one of the most eminent Spanish poets, and unquestionably among the greatest artists in Spanish literature. A passage in theViaje del Parnaso(cap. vii.) seems to imply that Cervantes admired Góngora's very obscure work, thePolifemo:—De llano no le déis, dadle de corte,Estancias Polifemas, al poetaQue no os tuviere por su guía y norte.Inimitables sois, y á la discretaGala que descubrís en lo escondidoToda elegancia puede estar sujeta.M. Foulché-Delbosc has in preparation a complete edition of Góngora's works.

[172]Luis de Góngora y Argote was born in 1561 and died in 1627. His father, Francisco de Argote, was Corregidor of Córdoba, and it has been generally stated that the poet assumed his mother's maiden name. However, the Sra. Doña Blanca de los Ríos y de Lampérez alleges that Góngora's real name was Luis de Argote y Argote: see an article entitledDe vuelta de Salamanca in La España moderna(Madrid, June 1897). I do not know precisely upon what ground this statement is made. Despite the perverse affectations into which hisculteranismoled him, Góngora is one of the most eminent Spanish poets, and unquestionably among the greatest artists in Spanish literature. A passage in theViaje del Parnaso(cap. vii.) seems to imply that Cervantes admired Góngora's very obscure work, thePolifemo:—

De llano no le déis, dadle de corte,Estancias Polifemas, al poetaQue no os tuviere por su guía y norte.Inimitables sois, y á la discretaGala que descubrís en lo escondidoToda elegancia puede estar sujeta.

De llano no le déis, dadle de corte,Estancias Polifemas, al poetaQue no os tuviere por su guía y norte.Inimitables sois, y á la discretaGala que descubrís en lo escondidoToda elegancia puede estar sujeta.

De llano no le déis, dadle de corte,Estancias Polifemas, al poetaQue no os tuviere por su guía y norte.Inimitables sois, y á la discretaGala que descubrís en lo escondidoToda elegancia puede estar sujeta.

M. Foulché-Delbosc has in preparation a complete edition of Góngora's works.

[173]Barrera conjectures that this Gonzalo Cervantes Saavedra may be the author of a novel entitledLos Pastores del Betis, published at Trani in 1633-4. I do not know this work, which may have been issued posthumously. It seems unlikely that Gonzalo Cervantes Saavedra began novel-writing when over seventy years old: for we may take it that he was over twenty when his namesake praised him, as above, in 1585.

[173]Barrera conjectures that this Gonzalo Cervantes Saavedra may be the author of a novel entitledLos Pastores del Betis, published at Trani in 1633-4. I do not know this work, which may have been issued posthumously. It seems unlikely that Gonzalo Cervantes Saavedra began novel-writing when over seventy years old: for we may take it that he was over twenty when his namesake praised him, as above, in 1585.

[174]Gonzalo Gómez de Luque wrote theLibro primero de los famosos hechos del príncipe Don Celidon de Iberia(Alcalá de Henares, 1583); but the only works of his with which I am acquainted are the verses in Padilla'sJardín espiritualand López Maldonado'sCancionero: see notes 27 and 23.

[174]Gonzalo Gómez de Luque wrote theLibro primero de los famosos hechos del príncipe Don Celidon de Iberia(Alcalá de Henares, 1583); but the only works of his with which I am acquainted are the verses in Padilla'sJardín espiritualand López Maldonado'sCancionero: see notes 27 and 23.

[175]Two sonnets by Gonzalo Mateo de Berrío are included in Espinosa'sFlores de poetas ilustres. Espinel refers to him in the preface toMarcos de Obregón: Lope mentions him in theLaurel de Apolo(silva ii.) and in theDorotea(Act iv., sc. ii.) Berrío signed theAprobaciónto Cairasco de Figueroa'sTemplo militante: see note 73.

[175]Two sonnets by Gonzalo Mateo de Berrío are included in Espinosa'sFlores de poetas ilustres. Espinel refers to him in the preface toMarcos de Obregón: Lope mentions him in theLaurel de Apolo(silva ii.) and in theDorotea(Act iv., sc. ii.) Berrío signed theAprobaciónto Cairasco de Figueroa'sTemplo militante: see note 73.

[176]Luis Barahona de Soto was born in 1548 at Lucena (Lucena de Córdoba and not Lucena del Puerto, as Barrera supposed). After some wanderings he settled at Archidona where he practised medicine. He is said to have diedab intestatoon November 6, 1595. A complimentary sonnet by him appears in Cristóbal de Mesa'sRestauración de España(Madrid, 1607): it would seem, therefore, that Mesa'sRestauraciónmust have been in preparation for at least a dozen years. Some verses by Barahona de Soto are given in Espinosa'sFlores de poetas ilustres: four of his satires, and hisFábula de Acteónare printed in Juan José López de Sedano'sParnaso Español(Madrid, 1768-1778), vol. ix., pp. 53-123. Barahona de Soto's best known work isLa primera parte de la Angélica(Granada, 1586) which, in the colophon, has the alternative title ofLas lágrimas de Angélica. There is a famous allusion to this work inDon Quixote(Part I., chap. vi.):—"I should have shed tears myself," said the curate when he heard the title, "had I ordered that book to be burned, for its author was one of the famous poets of the world, not to say of Spain, and was very happy in the translation of some of Ovid's fables." As Mr. Ormsby observed:—"The anti-climax here almost equals Waller's:—'Under the tropic is our language spoke,And part of Flanders hath received our yoke'."See vol. iii. of the present edition (Glasgow, 1901), p. 53,n.3. It has often been questioned whether Barahona de Soto ever wrote a Second Part of theAngélica. Since the publication of theDiálogos de la Montería(Madrid, 1890) by the Sociedad de Bibliófilos Españoles, under the editorship of Sr. D. Francisco R. de Uhagón, it seems practically certain that he at all events began the Second Part, if he did not finish it. TheDiálogos de la Montériacontain numerous passages quoted from the Second Part; and in a biographical, bibliographical and critical study, which Sr. D. Francisco Rodríguez Marín is now correcting for the press, it will be shown that Barahona de Soto was, in all probability, himself the author of theseDiálogos.

[176]Luis Barahona de Soto was born in 1548 at Lucena (Lucena de Córdoba and not Lucena del Puerto, as Barrera supposed). After some wanderings he settled at Archidona where he practised medicine. He is said to have diedab intestatoon November 6, 1595. A complimentary sonnet by him appears in Cristóbal de Mesa'sRestauración de España(Madrid, 1607): it would seem, therefore, that Mesa'sRestauraciónmust have been in preparation for at least a dozen years. Some verses by Barahona de Soto are given in Espinosa'sFlores de poetas ilustres: four of his satires, and hisFábula de Acteónare printed in Juan José López de Sedano'sParnaso Español(Madrid, 1768-1778), vol. ix., pp. 53-123. Barahona de Soto's best known work isLa primera parte de la Angélica(Granada, 1586) which, in the colophon, has the alternative title ofLas lágrimas de Angélica. There is a famous allusion to this work inDon Quixote(Part I., chap. vi.):—"I should have shed tears myself," said the curate when he heard the title, "had I ordered that book to be burned, for its author was one of the famous poets of the world, not to say of Spain, and was very happy in the translation of some of Ovid's fables." As Mr. Ormsby observed:—"The anti-climax here almost equals Waller's:—

'Under the tropic is our language spoke,And part of Flanders hath received our yoke'."

'Under the tropic is our language spoke,And part of Flanders hath received our yoke'."

'Under the tropic is our language spoke,And part of Flanders hath received our yoke'."

See vol. iii. of the present edition (Glasgow, 1901), p. 53,n.3. It has often been questioned whether Barahona de Soto ever wrote a Second Part of theAngélica. Since the publication of theDiálogos de la Montería(Madrid, 1890) by the Sociedad de Bibliófilos Españoles, under the editorship of Sr. D. Francisco R. de Uhagón, it seems practically certain that he at all events began the Second Part, if he did not finish it. TheDiálogos de la Montériacontain numerous passages quoted from the Second Part; and in a biographical, bibliographical and critical study, which Sr. D. Francisco Rodríguez Marín is now correcting for the press, it will be shown that Barahona de Soto was, in all probability, himself the author of theseDiálogos.

[177]A sonnet by Francisco de Terrazas figures in Pedro Espinosa'sFloresta de poetas ilustres de España: three more sonnets by Terrazas will be found in Gallardo, vol. i.,op. cit., cols. 1003-1007.

[177]A sonnet by Francisco de Terrazas figures in Pedro Espinosa'sFloresta de poetas ilustres de España: three more sonnets by Terrazas will be found in Gallardo, vol. i.,op. cit., cols. 1003-1007.

[178]Barrera does not help us to discover anything of Martínez de Ribera, who may have published in the Indies.

[178]Barrera does not help us to discover anything of Martínez de Ribera, who may have published in the Indies.

[179]Barrera vaguely infers from the text that Alonso Picado was a native of Peru.

[179]Barrera vaguely infers from the text that Alonso Picado was a native of Peru.

[180]Alonso de Estrada is conjectured by Barrera to have been born in the Indies.

[180]Alonso de Estrada is conjectured by Barrera to have been born in the Indies.

[181]Nothing seems to be known of Avalos y de Ribera.

[181]Nothing seems to be known of Avalos y de Ribera.

[182]I have never met with any of Sancho de Ribera's writings: a sonnet to him is found among Garcés's translations from Petrarch: see note 68.

[182]I have never met with any of Sancho de Ribera's writings: a sonnet to him is found among Garcés's translations from Petrarch: see note 68.

[183]A sonnet by Pedro de Montesdoca,El Indiano, is prefixed to Vicente Espinel'sDiversas rimas(1591).

[183]A sonnet by Pedro de Montesdoca,El Indiano, is prefixed to Vicente Espinel'sDiversas rimas(1591).

[184]A sonnet by Diego de Aguilar precedes Garcés's translation of Camões'sLusiadas: see note 68. I presume him to be the author of another prefatory sonnet in López Maldonado'sCancionero.

[184]A sonnet by Diego de Aguilar precedes Garcés's translation of Camões'sLusiadas: see note 68. I presume him to be the author of another prefatory sonnet in López Maldonado'sCancionero.

[185]No information is forthcoming as to Gonzalo Fernández de Sotomayor or his works.

[185]No information is forthcoming as to Gonzalo Fernández de Sotomayor or his works.

[186]Henrique Garcés publishedLos sonetos y canciones del Poeta Francisco Petrarcha(Madrid, 1591), andLos Lusiadas de Luys de Camoes(Madrid, 1591).

[186]Henrique Garcés publishedLos sonetos y canciones del Poeta Francisco Petrarcha(Madrid, 1591), andLos Lusiadas de Luys de Camoes(Madrid, 1591).

[187]Thevena inmortalof Rodrigo Fernández de Pineda does not seem to have expressed itself in print.

[187]Thevena inmortalof Rodrigo Fernández de Pineda does not seem to have expressed itself in print.

[188]The name of Juan de Mestanza recurs in theViaje del Parnaso(cap. vii.).

[188]The name of Juan de Mestanza recurs in theViaje del Parnaso(cap. vii.).

[189]An American, so Barrera thinks: there is no trace of his writings.

[189]An American, so Barrera thinks: there is no trace of his writings.

[190]Another American, according to Barrera; there is no trace of his writings either.

[190]Another American, according to Barrera; there is no trace of his writings either.

[191]Bartolomé Cairasco de Figueroa was born at the Canaries in 1540, became Prior of the Cathedral there, and died in 1610. HisTemplo militante, flos santorum, y triumphos de sus virtudeswas issued in four parts: (Valladolid, 1602), (Valladolid, 1603), (Madrid, 1609), and (Lisbon, 1614). Selections are given in Juan José López de Sedano'sParnaso español(Madrid, 1768-1778), vol. v., pp. 332-363, and vol. vi., pp. 191-216. Cairasco de Figueroa wrote a prefatory poem to Carranza'sLibro de las grandezas de la espada: see note 47. According to the Spanish annotators of Ticknor'sHistory, Cairasco left behind him a version (unpublished) of Ariosto'sGerusalemme.

[191]Bartolomé Cairasco de Figueroa was born at the Canaries in 1540, became Prior of the Cathedral there, and died in 1610. HisTemplo militante, flos santorum, y triumphos de sus virtudeswas issued in four parts: (Valladolid, 1602), (Valladolid, 1603), (Madrid, 1609), and (Lisbon, 1614). Selections are given in Juan José López de Sedano'sParnaso español(Madrid, 1768-1778), vol. v., pp. 332-363, and vol. vi., pp. 191-216. Cairasco de Figueroa wrote a prefatory poem to Carranza'sLibro de las grandezas de la espada: see note 47. According to the Spanish annotators of Ticknor'sHistory, Cairasco left behind him a version (unpublished) of Ariosto'sGerusalemme.

[192]Barrera states that a sonnet by Damián de Vega is prefixed to Juan Bautista de Loyola'sViaje y naufragios del Macedonio(Salamanca, 1587). I do not know this work.

[192]Barrera states that a sonnet by Damián de Vega is prefixed to Juan Bautista de Loyola'sViaje y naufragios del Macedonio(Salamanca, 1587). I do not know this work.

[193]The celebrated scholar, Francisco Sánchez, usually calledEl Brocensefrom his native place, was born at Las Brozas (Extremadura) in 1523, became professor of Greek and Rhetoric at Salamanca, and died in 1601. He edited Garcilaso (Salamanca, 1581), Juan de Mena (Salamanca, 1582), Horace (Salamanca, 1591), Virgil (Salamanca, 1591), Politian'sSilvae(Salamanca, 1596), Ovid (Salamanca, 1598), Persius (Salamanca, 1599). To these should be added theParadoxa(Antwerp, 1582), and a posthumous commentary on Epictetus (Pamplona, 1612).A Practical Grammar of the Latin Tongue, based on Sánchez, was published in London as recently as 1729.El Brocensewas prosecuted by the Inquisition in 1584, and again in 1588. The latter suit was still dragging on when Sánchez died. See theColección de documentos inéditos para la historia de España(Madrid, 1842, etc.), vol. ii., pp. 5-170.

[193]The celebrated scholar, Francisco Sánchez, usually calledEl Brocensefrom his native place, was born at Las Brozas (Extremadura) in 1523, became professor of Greek and Rhetoric at Salamanca, and died in 1601. He edited Garcilaso (Salamanca, 1581), Juan de Mena (Salamanca, 1582), Horace (Salamanca, 1591), Virgil (Salamanca, 1591), Politian'sSilvae(Salamanca, 1596), Ovid (Salamanca, 1598), Persius (Salamanca, 1599). To these should be added theParadoxa(Antwerp, 1582), and a posthumous commentary on Epictetus (Pamplona, 1612).A Practical Grammar of the Latin Tongue, based on Sánchez, was published in London as recently as 1729.El Brocensewas prosecuted by the Inquisition in 1584, and again in 1588. The latter suit was still dragging on when Sánchez died. See theColección de documentos inéditos para la historia de España(Madrid, 1842, etc.), vol. ii., pp. 5-170.

[194]The lawyer Francisco de la Cueva y Silva was born at Medina del Campo about 1550. His verses appear in Pedro Espinosa'sFlores de poetas ilustres de España; he wrote a prefatory poem for Escobar Cabeza de Vaca'sLuzero de la tierra sancta, and is said to be the author of a play entitledEl bello Adonis. Lope de Vega'sMal Casadais dedicated to Cueva whose high professional reputation may be inferred from the closing lines of a well-known sonnet by Quevedo:—Todas las leyes, con discurso fuerteVenció; y ansí parece cosa nueva,Que le vinciese, siendo ley, la muerte.Cueva is mentioned, together with Berrío (see note 58), in theDorotea(Act. iv. sc. ii.): "Don Francisco de la Cueva, y Berrío, jurisconsultos gravísimos, de quien pudiéramos decir lo que de Dino y Alciato, interpretes consultísimos de las leyes y poetas dulcísimos, escribieron comedias que se representaron con general aplauso."

[194]The lawyer Francisco de la Cueva y Silva was born at Medina del Campo about 1550. His verses appear in Pedro Espinosa'sFlores de poetas ilustres de España; he wrote a prefatory poem for Escobar Cabeza de Vaca'sLuzero de la tierra sancta, and is said to be the author of a play entitledEl bello Adonis. Lope de Vega'sMal Casadais dedicated to Cueva whose high professional reputation may be inferred from the closing lines of a well-known sonnet by Quevedo:—

Todas las leyes, con discurso fuerteVenció; y ansí parece cosa nueva,Que le vinciese, siendo ley, la muerte.

Todas las leyes, con discurso fuerteVenció; y ansí parece cosa nueva,Que le vinciese, siendo ley, la muerte.

Todas las leyes, con discurso fuerteVenció; y ansí parece cosa nueva,Que le vinciese, siendo ley, la muerte.

Cueva is mentioned, together with Berrío (see note 58), in theDorotea(Act. iv. sc. ii.): "Don Francisco de la Cueva, y Berrío, jurisconsultos gravísimos, de quien pudiéramos decir lo que de Dino y Alciato, interpretes consultísimos de las leyes y poetas dulcísimos, escribieron comedias que se representaron con general aplauso."

[195]The famous mystic writer and poet Luis Ponce de León was born at Belmonte (Cuenca) in 1527, joined the Augustinian Order in 1544, and was appointed professor of theology at Salamanca in 1561. He became involved in an academic squabble and was absurdly suspected of conspiring with the professors of Hebrew, Martín Martínez de Cantalapiedra and Juan Grajal, to interpret the Scriptures in a rabbinical sense. A plot seems to have been organized against him by Bartolomé de Medina, and, perhaps, by León de Castro, the professor of Greek at Salamanca. Luis de León was likewise accused of having translated theSong of Songsin the vernacular, and it has hitherto been thought that this charge told most heavily against him in the eyes of the Holy Office. It now appears that the really damaging accusation in the indictment referred to the supposed heterodoxy of Fray Luis's views as to the authority of the Vulgate: see a learned series of chapters entitledFray Luis de León; estudio biográfico y críticopublished by the Rev. Father Francisco Blanco García (himself an Augustinian monk) inLa Ciudad de Dios(from January 20, 1897 onwards, at somewhat irregular intervals). Luis de León was arrested in March 1572 and imprisoned till December 1576, when he was discharged as innocent. In 1579 he was appointed to the chair of Biblical History at Salamanca, his chief competitor being Fray Domingo de Guzmán, son of the great poet Garcilaso de la Vega. In 1582 Fray Luis was once more prosecuted before the Inquisition because of his supposed heterodoxy concerning the questionde auxiliis: see theSegundo proceso instruído por la Inquisición de Valladolid contra Fray Luis de León(Madrid, 1896), annotated by the Rev. Father Francisco Blanco García. In 1591 Fray Luis was elected Provincial of the Augustinian Order: he died ten days later. While in jail he wrote what is, perhaps, the noblest mystic work in the Spanish language,Los Nombres de Cristo, the first two books of which were published in 1583—the complete work (including a third book) being issued in 1585. In 1583 also appeared hisPerfecta casada. Fray Luis, in a fortunate hour for mankind, edited the writings of Santa Teresa, rescuing from the rash tamperings of blunderers works which he instantly recognized as masterpieces. His verses were published by Quevedo in 1631: they at once gave Fray Luis rank as one of the great Spanish poets, though he himself seems to have looked upon them as mere trifles.

[195]The famous mystic writer and poet Luis Ponce de León was born at Belmonte (Cuenca) in 1527, joined the Augustinian Order in 1544, and was appointed professor of theology at Salamanca in 1561. He became involved in an academic squabble and was absurdly suspected of conspiring with the professors of Hebrew, Martín Martínez de Cantalapiedra and Juan Grajal, to interpret the Scriptures in a rabbinical sense. A plot seems to have been organized against him by Bartolomé de Medina, and, perhaps, by León de Castro, the professor of Greek at Salamanca. Luis de León was likewise accused of having translated theSong of Songsin the vernacular, and it has hitherto been thought that this charge told most heavily against him in the eyes of the Holy Office. It now appears that the really damaging accusation in the indictment referred to the supposed heterodoxy of Fray Luis's views as to the authority of the Vulgate: see a learned series of chapters entitledFray Luis de León; estudio biográfico y críticopublished by the Rev. Father Francisco Blanco García (himself an Augustinian monk) inLa Ciudad de Dios(from January 20, 1897 onwards, at somewhat irregular intervals). Luis de León was arrested in March 1572 and imprisoned till December 1576, when he was discharged as innocent. In 1579 he was appointed to the chair of Biblical History at Salamanca, his chief competitor being Fray Domingo de Guzmán, son of the great poet Garcilaso de la Vega. In 1582 Fray Luis was once more prosecuted before the Inquisition because of his supposed heterodoxy concerning the questionde auxiliis: see theSegundo proceso instruído por la Inquisición de Valladolid contra Fray Luis de León(Madrid, 1896), annotated by the Rev. Father Francisco Blanco García. In 1591 Fray Luis was elected Provincial of the Augustinian Order: he died ten days later. While in jail he wrote what is, perhaps, the noblest mystic work in the Spanish language,Los Nombres de Cristo, the first two books of which were published in 1583—the complete work (including a third book) being issued in 1585. In 1583 also appeared hisPerfecta casada. Fray Luis, in a fortunate hour for mankind, edited the writings of Santa Teresa, rescuing from the rash tamperings of blunderers works which he instantly recognized as masterpieces. His verses were published by Quevedo in 1631: they at once gave Fray Luis rank as one of the great Spanish poets, though he himself seems to have looked upon them as mere trifles.

[196]Matías de Zúñiga, whose genius Cervantes here declares to have been divine, does not appear to have published anything.

[196]Matías de Zúñiga, whose genius Cervantes here declares to have been divine, does not appear to have published anything.

[197]Certain poems ascribed to Damasio de Frías are given by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vols. ii. and vii.

[197]Certain poems ascribed to Damasio de Frías are given by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vols. ii. and vii.

[198]Barrera merely states that Andrés Sanz del Portillo resided in Castilla la Vieja: his writings have not reached us.

[198]Barrera merely states that Andrés Sanz del Portillo resided in Castilla la Vieja: his writings have not reached us.

[199]Possibly this writer may be identical with the Pedro de Soria who contributed a sonnet to Jerónimo de Lomas Cantoral'sObras: see note 83.

[199]Possibly this writer may be identical with the Pedro de Soria who contributed a sonnet to Jerónimo de Lomas Cantoral'sObras: see note 83.

[200]TheObrasof Jerónimo de Lomas Cantoral appeared at Madrid in 1578. They include translations of threecanzoniby Luigi Tansillo.

[200]TheObrasof Jerónimo de Lomas Cantoral appeared at Madrid in 1578. They include translations of threecanzoniby Luigi Tansillo.

[201]Jerónimo Vaca y de Quiñones contributed a sonnet to Pedro de Escobar Cabeza de Vaca'sLuzero de la tierra sancta, y grandezas de Egypto, y monte Sinay(Valladolid, 1587): see note 77.

[201]Jerónimo Vaca y de Quiñones contributed a sonnet to Pedro de Escobar Cabeza de Vaca'sLuzero de la tierra sancta, y grandezas de Egypto, y monte Sinay(Valladolid, 1587): see note 77.

[202]Lupercio Leonardo de Argensola was born in 1559, and died in 1613 at Naples, whither he had accompanied the Conde de Lemos three years earlier. His admirable poems, and those of his brother, were issued posthumously in 1634: see note 86. HisIsabela,FílisandAlejandraare praised inDon Quixoteas "three tragedies acted in Spain, written by a famous poet of these kingdoms, which were such that they filled all who heard them with admiration, delight, and interest, the ignorant as well as the wise, the masses as well as the higher orders, and brought in more money to the performers, these three alone, than thirty of the best that have since been produced": see vol. iv. of the present edition (Glasgow, 1901), p. 214. TheFílisseems to be lost. TheIsabelaandAlejandra, neither of them very interesting, were first published in 1772 by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vol. vi., pp. 312-524. There may be a touch of friendly exaggeration in Cervantes's account of their success on the boards. At all events, the author of these pieces soon abandoned the stage, and, when the theatres were closed on the death of the Queen of Piedmont, he was prominent among those who petitioned that the closure might be made permanent. A Royal decree in that sense was issued on May 2, 1598. In the following year Lupercio Leonardo de Argensola was appointed chief chronicler of Aragón. TheIsabelaandAlejandraare reprinted in the first volume of the Conde de la Viñaza's edition of the Argensolas'Poesías sueltas(Madrid, 1889).

[202]Lupercio Leonardo de Argensola was born in 1559, and died in 1613 at Naples, whither he had accompanied the Conde de Lemos three years earlier. His admirable poems, and those of his brother, were issued posthumously in 1634: see note 86. HisIsabela,FílisandAlejandraare praised inDon Quixoteas "three tragedies acted in Spain, written by a famous poet of these kingdoms, which were such that they filled all who heard them with admiration, delight, and interest, the ignorant as well as the wise, the masses as well as the higher orders, and brought in more money to the performers, these three alone, than thirty of the best that have since been produced": see vol. iv. of the present edition (Glasgow, 1901), p. 214. TheFílisseems to be lost. TheIsabelaandAlejandra, neither of them very interesting, were first published in 1772 by Juan José López de Sedano inEl Parnaso Español(Madrid, 1768-1778), vol. vi., pp. 312-524. There may be a touch of friendly exaggeration in Cervantes's account of their success on the boards. At all events, the author of these pieces soon abandoned the stage, and, when the theatres were closed on the death of the Queen of Piedmont, he was prominent among those who petitioned that the closure might be made permanent. A Royal decree in that sense was issued on May 2, 1598. In the following year Lupercio Leonardo de Argensola was appointed chief chronicler of Aragón. TheIsabelaandAlejandraare reprinted in the first volume of the Conde de la Viñaza's edition of the Argensolas'Poesías sueltas(Madrid, 1889).

[203]Bartolomé Leonardo de Argensola was born in 1562 and died in 1631. He took orders, became Rector of Villahermosa, and succeeded his brother as official chronicler of Aragón. He published theConquista de las Islas Malacas(Madrid, 1609), and theAnales de Aragón(Zaragoza, 1631)—the latter being a continuation of Jerónimo de Zurita'sAnales de la Corona de Aragón(1562-1580). The poems of both brothers were issued by Lupercio's son, Gabriel Leonardo de Albión, in a volume entitledLas Rimas que se han podido recogerde Lupercio, y del Doctor Bartolomé Leonardo de Argensola(Zaragoza, 1634). Lope de Vega had a great esteem for the Argensolas whose polished diction, rare in men of Aragonese birth, he regarded as an antidote to the extravagances—thefrases horribles, as he says—ofculteranismo. The very considerable merits of the Argensolas were likewise appreciated by Cervantes who, however, seems to have cooled somewhat towards the brothers when the Conde de Lemos, on his appointment as Viceroy of Naples, attached them to his household. It is said that Cervantes himself hoped to form part of Lemos's suite, and that he was annoyed with the Argensolas for not pushing his claims as vigorously as he expected of them. At this distance of time, it is impossible for us to know what really happened; but a passage in theViaje del Parnaso(cap. iii.) does appear to imply that Cervantes had a grievance of some kind against the Argensolas:—Que no sé quien me dice, y quien me exhorta,Que tienen para mi, á lo que imagino,La voluntad, como la vista corta.

[203]Bartolomé Leonardo de Argensola was born in 1562 and died in 1631. He took orders, became Rector of Villahermosa, and succeeded his brother as official chronicler of Aragón. He published theConquista de las Islas Malacas(Madrid, 1609), and theAnales de Aragón(Zaragoza, 1631)—the latter being a continuation of Jerónimo de Zurita'sAnales de la Corona de Aragón(1562-1580). The poems of both brothers were issued by Lupercio's son, Gabriel Leonardo de Albión, in a volume entitledLas Rimas que se han podido recogerde Lupercio, y del Doctor Bartolomé Leonardo de Argensola(Zaragoza, 1634). Lope de Vega had a great esteem for the Argensolas whose polished diction, rare in men of Aragonese birth, he regarded as an antidote to the extravagances—thefrases horribles, as he says—ofculteranismo. The very considerable merits of the Argensolas were likewise appreciated by Cervantes who, however, seems to have cooled somewhat towards the brothers when the Conde de Lemos, on his appointment as Viceroy of Naples, attached them to his household. It is said that Cervantes himself hoped to form part of Lemos's suite, and that he was annoyed with the Argensolas for not pushing his claims as vigorously as he expected of them. At this distance of time, it is impossible for us to know what really happened; but a passage in theViaje del Parnaso(cap. iii.) does appear to imply that Cervantes had a grievance of some kind against the Argensolas:—

Que no sé quien me dice, y quien me exhorta,Que tienen para mi, á lo que imagino,La voluntad, como la vista corta.

Que no sé quien me dice, y quien me exhorta,Que tienen para mi, á lo que imagino,La voluntad, como la vista corta.

Que no sé quien me dice, y quien me exhorta,Que tienen para mi, á lo que imagino,La voluntad, como la vista corta.

[204]The writings of Cosme Pariente are unknown to Barrera, and to later bibliographers.

[204]The writings of Cosme Pariente are unknown to Barrera, and to later bibliographers.

[205]Diego Murillo was born at Zaragoza about 1555, joined the Franciscans, and became a popular preacher. He is the author of theInstruccion para enseñar la virtud á los principiantes(Zaragoza, 1598), theEscala espiritual para la perfección evangélica(Zaragoza, 1598), theVida y excelencias de la Madre de Dios(Zaragoza, 1610), and six volumes ofDiscursos predicables, published at Zaragoza and Lisbon between 1602 and 1611. The most accessible of Murillo's works are theFundación milagrosa de la capilla angélica y apostólica de la Madre de Dios del Pilar(Barcelona, 1616), and a volume entitledDivina, dulce y provechosa poesía(Zaragoza, 1616). His verse (some specimens of which are given in Böhl de Faber'sFloresta de rimas antiguas castellanas) is better than his prose, but in neither does he fulfil the expectations raised by Cervantes's compliments.

[205]Diego Murillo was born at Zaragoza about 1555, joined the Franciscans, and became a popular preacher. He is the author of theInstruccion para enseñar la virtud á los principiantes(Zaragoza, 1598), theEscala espiritual para la perfección evangélica(Zaragoza, 1598), theVida y excelencias de la Madre de Dios(Zaragoza, 1610), and six volumes ofDiscursos predicables, published at Zaragoza and Lisbon between 1602 and 1611. The most accessible of Murillo's works are theFundación milagrosa de la capilla angélica y apostólica de la Madre de Dios del Pilar(Barcelona, 1616), and a volume entitledDivina, dulce y provechosa poesía(Zaragoza, 1616). His verse (some specimens of which are given in Böhl de Faber'sFloresta de rimas antiguas castellanas) is better than his prose, but in neither does he fulfil the expectations raised by Cervantes's compliments.

[206]Juan Coloma, Conde de Elda, is responsible for aDécada de la Pasión de Jesu Christo(Cádiz, 1575).

[206]Juan Coloma, Conde de Elda, is responsible for aDécada de la Pasión de Jesu Christo(Cádiz, 1575).

[207]Pedro Luis Garcerán de Borja is also introduced by Gil Polo in theCanto del Turia: see note 94. He held the appointment of Captain-General of Oran, where Cervantes may have met him: at the time of his death in 1592 he was Captain-General of Catalonia.

[207]Pedro Luis Garcerán de Borja is also introduced by Gil Polo in theCanto del Turia: see note 94. He held the appointment of Captain-General of Oran, where Cervantes may have met him: at the time of his death in 1592 he was Captain-General of Catalonia.

[208]Alonso Girón y de Rebolledo is likewise introduced by Gil Polo in theCanto del Turia: see note 94. HisPasión de nuestro Señor Jesu Christo según Sanct Joan(Valencia, 1563) met with considerable success. It contains a complimentary sonnet by Gil Polo: in the following year Girón y de Rebolledo repaid the attention by contributing a sonnet to Gil Polo'sDiana enamorada.

[208]Alonso Girón y de Rebolledo is likewise introduced by Gil Polo in theCanto del Turia: see note 94. HisPasión de nuestro Señor Jesu Christo según Sanct Joan(Valencia, 1563) met with considerable success. It contains a complimentary sonnet by Gil Polo: in the following year Girón y de Rebolledo repaid the attention by contributing a sonnet to Gil Polo'sDiana enamorada.

[209]Jaime Juan de Falcon, like Garcerán de Borja and Girón y de Rebolledo, figures in Gil Polo'sCanto del Turia: see note 94. He was born in 1522 and died in 1594, having (as he believed) squared the circle. Amongst other works he published theQuadratura circuli(Valencia, 1587): hisObras poéticas latinas(Madrid, 1600) appeared posthumously.

[209]Jaime Juan de Falcon, like Garcerán de Borja and Girón y de Rebolledo, figures in Gil Polo'sCanto del Turia: see note 94. He was born in 1522 and died in 1594, having (as he believed) squared the circle. Amongst other works he published theQuadratura circuli(Valencia, 1587): hisObras poéticas latinas(Madrid, 1600) appeared posthumously.

[210]Andrés Rey de Artieda was born in 1549 and died in 1613. His youth was one of rare promise. Though not yet fourteen years old when Gil Polo wrote theDiana enamorada, he is introduced to us as a poet in theCanto del Turia:—y prometernos han sus tiernas floresfrutos entre los buenos los mejores.This phrase may have been in Cervantes's mind when writing of his own play,La Confusa: "la cual, con paz sea dicho de cuantas comedias de capa y espada hasta hoy se han representado, bien puede tener lugar señalado par buena entre las mejores" (see theAdjunta al Parnaso).Artieda graduated in arts at the University of Valencia in 1563, and studied later at Lérida and Tolosa, taking his degree as doctor of both civil and canonical law at the age of twenty. This brilliant academic success was receivedcon aplauso y pronósticos extraños, and a great future seemed to await him. However, he was something of a rolling stone. He practised for a short while at the bar, but abandoned the profession in disgust and entered the army. Here, again, he seemed likely to carry all before him. In his first campaign he was promoted at a bound to the rank of captain, but his luck was now run out. Like Cervantes, he received three wounds at Lepanto. He was present at the relief of Cyprus, and served under Parma in the Low Countries. His intrepidity was proverbial, and he is said to have swum across the Ems in midwinter, his sword gripped between his teeth, under the enemy's fire. These heroic feats do not appear to have brought him advancement, and, in theViaje del Parnaso(cap. iii.), Cervantes, who would seem to have known him personally, speaks of Artieda grown old as—Más rico de valor que de moneda.Artieda is said to have written plays entitledEl Príncipe vicioso,Amadís de Gaula, andLos Encantos de Merlín: he is the author of a mediocre tragedy,Los Amantes(Valencia, 1581) which may have been read by Tirso de Molina before he wroteLos Amantes de Teruel. Artieda published an anthology of his verses under the pseudonym of Artemidoro:Discursos, epístolas y epigramas de Artemidoro(Zaragoza, 1605). Some passages in this collection express the writer's hostility to the new drama, and betray a certain pique at the success of his former friend, Lope de Vega. Lope, however, praises Artieda very generously in theLaurel de Apolo(silva ii.).

[210]Andrés Rey de Artieda was born in 1549 and died in 1613. His youth was one of rare promise. Though not yet fourteen years old when Gil Polo wrote theDiana enamorada, he is introduced to us as a poet in theCanto del Turia:—

y prometernos han sus tiernas floresfrutos entre los buenos los mejores.

y prometernos han sus tiernas floresfrutos entre los buenos los mejores.

y prometernos han sus tiernas floresfrutos entre los buenos los mejores.

This phrase may have been in Cervantes's mind when writing of his own play,La Confusa: "la cual, con paz sea dicho de cuantas comedias de capa y espada hasta hoy se han representado, bien puede tener lugar señalado par buena entre las mejores" (see theAdjunta al Parnaso).

Artieda graduated in arts at the University of Valencia in 1563, and studied later at Lérida and Tolosa, taking his degree as doctor of both civil and canonical law at the age of twenty. This brilliant academic success was receivedcon aplauso y pronósticos extraños, and a great future seemed to await him. However, he was something of a rolling stone. He practised for a short while at the bar, but abandoned the profession in disgust and entered the army. Here, again, he seemed likely to carry all before him. In his first campaign he was promoted at a bound to the rank of captain, but his luck was now run out. Like Cervantes, he received three wounds at Lepanto. He was present at the relief of Cyprus, and served under Parma in the Low Countries. His intrepidity was proverbial, and he is said to have swum across the Ems in midwinter, his sword gripped between his teeth, under the enemy's fire. These heroic feats do not appear to have brought him advancement, and, in theViaje del Parnaso(cap. iii.), Cervantes, who would seem to have known him personally, speaks of Artieda grown old as—

Más rico de valor que de moneda.

Artieda is said to have written plays entitledEl Príncipe vicioso,Amadís de Gaula, andLos Encantos de Merlín: he is the author of a mediocre tragedy,Los Amantes(Valencia, 1581) which may have been read by Tirso de Molina before he wroteLos Amantes de Teruel. Artieda published an anthology of his verses under the pseudonym of Artemidoro:Discursos, epístolas y epigramas de Artemidoro(Zaragoza, 1605). Some passages in this collection express the writer's hostility to the new drama, and betray a certain pique at the success of his former friend, Lope de Vega. Lope, however, praises Artieda very generously in theLaurel de Apolo(silva ii.).

[211]Gaspar Gil Polo published theDiana enamoradaat Valencia in 1564. The Priest inDon Quixotedecided that it should "be preserved as if it came from Apollo himself": see vol. iii. of the present edition (Glasgow, 1901), p. 51. It is unquestionably a work of unusual merit in its kind, but some deduction must be made from Cervantes's hyperbolical praise: he evidently succumbed to the temptation of playing on the words Polo and Apollo.Gaspar Gil Polo is said by Ticknor to have been professor of Greek at Valencia. There was a Gil Polo who held the Greek chair in the University of that city between 1566 and 1574: but his name was not Gaspar. Nicolás Antonio and others maintain that the author of theDiana enamoradawas the celebrated lawyer, Gaspar Gil Polo, who appeared to plead before the Cortes in 1626. This Gaspar Gil Polo was a mere boy when theDiana enamoradawas issued sixty-two years earlier. He was probably the son of the author: see Justo Pastor Fuster,Biblioteca Valenciana de las escritores que florecieron hasta nuestros días(Valencia, 1827-1830), vol. i., pp. 150-155, and—more especially—Professor Hugo Albert Rennert,The Spanish Pastoral Romances(Baltimore, 1892), p. 31.As already stated in note 91, Gil Polo contributed a sonnet to Girón y de Rebolledo'sPasión, which appeared a year before theDiana enamorada. Another of his sonnets is found in Sempere'sCarolea(1560). In theSerao de Amor, Timoneda speaks of him as a celebrated poet; but, as we see from theCanto de Calíopeitself, these flourishes and compliments often mean next to nothing. It is somewhat strange that Gil Polo, who is said to have died at Barcelona in 1591, did not issue a sequel to hisDiana enamoradaduring the twenty-seven years of life which remained to him after the publication of the First Part in 1564. At the end of theDiana enamoradahe promised a Second Part as clearly as Cervantes, after him, promised a Second Part of theGalatea: "Las quales (fiestas) ... y otras cosas de gusto y de provecho están tratadas en la otra parte deste libro, que antes de muchos días, placiendo á Dios, será impresa." Gil Polo is believed to have been absorbed by his official duties as Maestre Racional of the Royal Court in the Kingdom of Valencia. HisCanto del Turia, inserted in the third book of theDiana enamorada, is one of the models—perhaps the chief model—of the presentCanto de Calíope. Cervantes follows Gil Polo very closely.

[211]Gaspar Gil Polo published theDiana enamoradaat Valencia in 1564. The Priest inDon Quixotedecided that it should "be preserved as if it came from Apollo himself": see vol. iii. of the present edition (Glasgow, 1901), p. 51. It is unquestionably a work of unusual merit in its kind, but some deduction must be made from Cervantes's hyperbolical praise: he evidently succumbed to the temptation of playing on the words Polo and Apollo.

Gaspar Gil Polo is said by Ticknor to have been professor of Greek at Valencia. There was a Gil Polo who held the Greek chair in the University of that city between 1566 and 1574: but his name was not Gaspar. Nicolás Antonio and others maintain that the author of theDiana enamoradawas the celebrated lawyer, Gaspar Gil Polo, who appeared to plead before the Cortes in 1626. This Gaspar Gil Polo was a mere boy when theDiana enamoradawas issued sixty-two years earlier. He was probably the son of the author: see Justo Pastor Fuster,Biblioteca Valenciana de las escritores que florecieron hasta nuestros días(Valencia, 1827-1830), vol. i., pp. 150-155, and—more especially—Professor Hugo Albert Rennert,The Spanish Pastoral Romances(Baltimore, 1892), p. 31.

As already stated in note 91, Gil Polo contributed a sonnet to Girón y de Rebolledo'sPasión, which appeared a year before theDiana enamorada. Another of his sonnets is found in Sempere'sCarolea(1560). In theSerao de Amor, Timoneda speaks of him as a celebrated poet; but, as we see from theCanto de Calíopeitself, these flourishes and compliments often mean next to nothing. It is somewhat strange that Gil Polo, who is said to have died at Barcelona in 1591, did not issue a sequel to hisDiana enamoradaduring the twenty-seven years of life which remained to him after the publication of the First Part in 1564. At the end of theDiana enamoradahe promised a Second Part as clearly as Cervantes, after him, promised a Second Part of theGalatea: "Las quales (fiestas) ... y otras cosas de gusto y de provecho están tratadas en la otra parte deste libro, que antes de muchos días, placiendo á Dios, será impresa." Gil Polo is believed to have been absorbed by his official duties as Maestre Racional of the Royal Court in the Kingdom of Valencia. HisCanto del Turia, inserted in the third book of theDiana enamorada, is one of the models—perhaps the chief model—of the presentCanto de Calíope. Cervantes follows Gil Polo very closely.

[212]The dramatist, Cristóbal de Virués, was born in 1550 and died in 1610. Like Cervantes and Artieda, he fought at Lepanto. HisObras trágicas y líricas(Madrid, 1609) are more interesting than his somewhat repulsiveHistoria del Monserrate(Madrid, 1587-1588) which Cervantes praises beyond measure: see note 2.

[212]The dramatist, Cristóbal de Virués, was born in 1550 and died in 1610. Like Cervantes and Artieda, he fought at Lepanto. HisObras trágicas y líricas(Madrid, 1609) are more interesting than his somewhat repulsiveHistoria del Monserrate(Madrid, 1587-1588) which Cervantes praises beyond measure: see note 2.

[213]I have failed to find any example of Silvestre de Espinosa's work.

[213]I have failed to find any example of Silvestre de Espinosa's work.

[214]García Romeo (the name is sometimes given as García Romero) appears to have escaped all the bibliographers.

[214]García Romeo (the name is sometimes given as García Romero) appears to have escaped all the bibliographers.

[215]Romeroin Spanish meansrosemary. A. B. W.

[215]Romeroin Spanish meansrosemary. A. B. W.

[216]The Jeromite monk, Pedro de Huete, contributed a sonnet to theVersos espirituales(Cuenca, 1597) of the Dominican friar, Pedro de Encinas.

[216]The Jeromite monk, Pedro de Huete, contributed a sonnet to theVersos espirituales(Cuenca, 1597) of the Dominican friar, Pedro de Encinas.

[217]Pedro de Láinez joined with Cervantes in writing eulogistic verses for Padilla'sJardín espiritual: see note 27. Examples of his skill are given in Pedro Espinosa'sFlores de poetas ilustres de España(1605). Fernández de Navarrete, in his biography of Cervantes, states (p. 116) that Láinez died in 1605: he is warmly praised by Lope de Vega in theLaurel de Apolo(silva iv.).His widow, Juana Gaitán, lived at Valladolid in the same house as Cervantes and his family: she is mentioned, not greatly to her credit, in the depositions of some of the witnesses examined with reference to the death of Gaspar de Ezpeleta; but too much importance may easily be given to this tittle-tattle. Luisa de Montoya, a very respectable widow, corroborated the evidence of other witnesses who assert that the neighbours gossiped concerning the visits paid to Láinez's widow by the Duque de Pastrana and the Conde de Concentaina—"que venian a tratar de un libro que había compuesto un fulano Laynez, su primer marido."The contemptuous phrase—un fulano Laynez—would imply that Luisa de Montoya was not a person of literary tastes: she was, however, widow of the chronicler, Esteban de Garibay Zamalloa, author of theIlustraciones genealogicas de los catholicos reyes de las Españas, y de los christianissimos de Francia, y de los Emperadores de Constantinopla, hasta el Catholico Rey nuestro Señor Don Philipe el II y sus serenissimos hijos(Madrid, 1596). The words—su primer marido—which are likewise used by another witness (Cervantes's niece, Costanza de Ovando), might be taken, if construed literally, to mean that Láinez's widow had married again shortly after her husband's death: for the evidence was taken on June 29, 1605. But, apparently, the inference would be wrong. When examined in jail, to which she was committed with Cervantes and others, Juana Gaitán described herself as over thirty-five years of age, and as the widow of the late Pedro Láinez. She accounted for Pastrana's visits, which had given rise to scandal, by saying that she intended to dedicate to him two books by her late husband, and that Pastrana had merely called to thank her in due form. A reference to Pastrana in theViaje del Parnaso(cap. viii.) seems to suggest that Pastrana was a munificent patron:—Desde allí, y no sé cómo, fuí traídoAdonde ví al gran Duque de PastranaMil parabienes dar de bien venido;Y que la fama en la verdad ufanaContaba que agradó con su presencia,Y con su cortesía sobrehumana:Que fué nuevo Alejandro en la excelenciaDel dar, que satisfizo á todo cuantoPuede mostrar real magnificencia.It is a little unlucky that these works by Láinez, concerning the publication of which the author's zealous widow consulted Pastrana, should not after all have found their way into print. For details of the evidence in the Ezpeleta case, see Dr. Pérez Pastor'sDocumentos Cervantinos hasta ahora inéditos(Madrid, 1902), vol. ii., pp. 455-527.

[217]Pedro de Láinez joined with Cervantes in writing eulogistic verses for Padilla'sJardín espiritual: see note 27. Examples of his skill are given in Pedro Espinosa'sFlores de poetas ilustres de España(1605). Fernández de Navarrete, in his biography of Cervantes, states (p. 116) that Láinez died in 1605: he is warmly praised by Lope de Vega in theLaurel de Apolo(silva iv.).

His widow, Juana Gaitán, lived at Valladolid in the same house as Cervantes and his family: she is mentioned, not greatly to her credit, in the depositions of some of the witnesses examined with reference to the death of Gaspar de Ezpeleta; but too much importance may easily be given to this tittle-tattle. Luisa de Montoya, a very respectable widow, corroborated the evidence of other witnesses who assert that the neighbours gossiped concerning the visits paid to Láinez's widow by the Duque de Pastrana and the Conde de Concentaina—"que venian a tratar de un libro que había compuesto un fulano Laynez, su primer marido."

The contemptuous phrase—un fulano Laynez—would imply that Luisa de Montoya was not a person of literary tastes: she was, however, widow of the chronicler, Esteban de Garibay Zamalloa, author of theIlustraciones genealogicas de los catholicos reyes de las Españas, y de los christianissimos de Francia, y de los Emperadores de Constantinopla, hasta el Catholico Rey nuestro Señor Don Philipe el II y sus serenissimos hijos(Madrid, 1596). The words—su primer marido—which are likewise used by another witness (Cervantes's niece, Costanza de Ovando), might be taken, if construed literally, to mean that Láinez's widow had married again shortly after her husband's death: for the evidence was taken on June 29, 1605. But, apparently, the inference would be wrong. When examined in jail, to which she was committed with Cervantes and others, Juana Gaitán described herself as over thirty-five years of age, and as the widow of the late Pedro Láinez. She accounted for Pastrana's visits, which had given rise to scandal, by saying that she intended to dedicate to him two books by her late husband, and that Pastrana had merely called to thank her in due form. A reference to Pastrana in theViaje del Parnaso(cap. viii.) seems to suggest that Pastrana was a munificent patron:—

Desde allí, y no sé cómo, fuí traídoAdonde ví al gran Duque de PastranaMil parabienes dar de bien venido;Y que la fama en la verdad ufanaContaba que agradó con su presencia,Y con su cortesía sobrehumana:Que fué nuevo Alejandro en la excelenciaDel dar, que satisfizo á todo cuantoPuede mostrar real magnificencia.

Desde allí, y no sé cómo, fuí traídoAdonde ví al gran Duque de PastranaMil parabienes dar de bien venido;Y que la fama en la verdad ufanaContaba que agradó con su presencia,Y con su cortesía sobrehumana:Que fué nuevo Alejandro en la excelenciaDel dar, que satisfizo á todo cuantoPuede mostrar real magnificencia.

Desde allí, y no sé cómo, fuí traídoAdonde ví al gran Duque de PastranaMil parabienes dar de bien venido;Y que la fama en la verdad ufanaContaba que agradó con su presencia,Y con su cortesía sobrehumana:Que fué nuevo Alejandro en la excelenciaDel dar, que satisfizo á todo cuantoPuede mostrar real magnificencia.

It is a little unlucky that these works by Láinez, concerning the publication of which the author's zealous widow consulted Pastrana, should not after all have found their way into print. For details of the evidence in the Ezpeleta case, see Dr. Pérez Pastor'sDocumentos Cervantinos hasta ahora inéditos(Madrid, 1902), vol. ii., pp. 455-527.

[218]Francisco de Figueroa,el Divino, was born at Alcalá de Henares in 1536 and is conjectured to have died as late as 1620. Very little is known of this distinguished poet. He is said to have served as a soldier in Italy where his verses won him so high a reputation that he was compared to Petrarch. He married Doña María de Vargas on February 14, 1575, at Alcalá de Henares, and travelled with the Duque de Terranova through the Low Countries in 1597. After this date he disappears. He is stated to have died at Lisbon, and to have directed that all his poems should be burned. Such of them as were saved were published at Lisbon in 1626 by Luis Tribaldos de Toledo. As noted in theIntroduction(p. xxxi.n.2) to the present version, Figueroa is the Tirsi of theGalatea. There is a strong family likeness between the poems of Figueroa and those of the Bachiller Francisco de la Torre, whose verses were issued by Quevedo in 1631. So marked is this resemblance that, as M. Ernest Mérimée has written:—"Un critique, que le paradoxe n'effraierait point, pourrait, sans trop de peine, soutenir l'identité de Francisco de la Torre et de Francisco de Figueroa." See his admirableEssai sur la vie et les œuvres de Francisco de Quevedo(Paris, 1886), p. 324.

[218]Francisco de Figueroa,el Divino, was born at Alcalá de Henares in 1536 and is conjectured to have died as late as 1620. Very little is known of this distinguished poet. He is said to have served as a soldier in Italy where his verses won him so high a reputation that he was compared to Petrarch. He married Doña María de Vargas on February 14, 1575, at Alcalá de Henares, and travelled with the Duque de Terranova through the Low Countries in 1597. After this date he disappears. He is stated to have died at Lisbon, and to have directed that all his poems should be burned. Such of them as were saved were published at Lisbon in 1626 by Luis Tribaldos de Toledo. As noted in theIntroduction(p. xxxi.n.2) to the present version, Figueroa is the Tirsi of theGalatea. There is a strong family likeness between the poems of Figueroa and those of the Bachiller Francisco de la Torre, whose verses were issued by Quevedo in 1631. So marked is this resemblance that, as M. Ernest Mérimée has written:—"Un critique, que le paradoxe n'effraierait point, pourrait, sans trop de peine, soutenir l'identité de Francisco de la Torre et de Francisco de Figueroa." See his admirableEssai sur la vie et les œuvres de Francisco de Quevedo(Paris, 1886), p. 324.

[219]Brasa, f., means red-hot coal. The word for 'charcoal' iscarbón, m.

[219]Brasa, f., means red-hot coal. The word for 'charcoal' iscarbón, m.

[220]The Spanish for 'letter' iscarta, f.; for a 'pack of cards'pliego de cartas, m.

[220]The Spanish for 'letter' iscarta, f.; for a 'pack of cards'pliego de cartas, m.

[221]i.e. a riddle. The Spanish is¿qué es cosa y cosa?a phrase equivalent to our 'What may this pretty thing be?'

[221]i.e. a riddle. The Spanish is¿qué es cosa y cosa?a phrase equivalent to our 'What may this pretty thing be?'

END OF GALATEA.

Back to IndexNext