all. The drama had by this time outgrown market-place stages and30
strolling companies, and with his old love for it he naturally turned to
it for a congenial employment. In about three years he wrote twenty or thirty plays, which he tells us were performed without any throwing of cucumbers or other missiles, and ran their course without any hisses, outcries, or disturbance. In other words, his plays were not bad enough to be hissed off the stage, but not good enough to hold their own upon
it. Only two of them have been preserved, but as they happen to be two of the seven or eight he mentions with complacency, we may assume they are favourable specimens, and no one who reads the "Numancia" and the "Trato de Argel" will feel any surprise that they failed as acting dramas.
Whatever merits they may have, whatever occasional they may show, they are, as regards construction, incurably clumsy. How completely they
failed is manifest from the fact that with all his sanguine temperament and indomitable perseverance he was unable to maintain the struggle to gain a livelihood as a dramatist for more than three years; nor was the rising popularity of Lope the cause, as is often said, notwithstanding
his own words to the contrary. When Lope began to write for the stage is uncertain, but it was certainly after Cervantes went to Seville.
Among the "Nuevos Documentos" printed by Senor Asensio y Toledo is one
dated 1592, and curiously characteristic of Cervantes. It is an agreement with one Rodrigo Osorio, a manager, who was to accept six comedies at fifty ducats (about 6l.) apiece, not to be paid in any case unless it
appeared on representation that the said comedy was one of the best that had ever been represented in Spain. The test does not seem to have been ever applied; perhaps it was sufficiently apparent to Rodrigo Osorio that the comedies were not among the best that had ever been represented.
Among the correspondence of Cervantes there might have been found, no
doubt, more than one letter like that we see in the "Rake's Progress,"
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"Sir, I have read your play, and it will not doo."
He was more successful in a literary contest at Saragossa in 1595 in honour of the canonisation of St. Jacinto, when his composition won the first prize, three silver spoons. The year before this he had been
appointed a collector of revenues for the kingdom of Granada. In order to remit the money he had collected more conveniently to the treasury, he entrusted it to a merchant, who failed and absconded; and as the
bankrupt's assets were insufficient to cover the whole, he was sent to prison at Seville in September 1597. The balance against him, however, was a small one, about 26l., and on giving security for it he was
released at the end of the year.
It was as he journeyed from town to town collecting the king's taxes,
that he noted down those bits of inn and wayside life and character that abound in the pages of "Don Quixote:" the Benedictine monks with spectacles and sunshades, mounted on their tall mules; the strollers in costume bound for the next village; the barber with his basin on his head, on his way to bleed a patient; the recruit with his breeches in his bundle, tramping along the road singing; the reapers gathered in the
venta gateway listening to "Felixmarte of Hircania" read out to them; and those little Hogarthian touches that he so well knew how to bring in, the ox-tail hanging up with the landlord's comb stuck in it, the wine-skins
at the bed-head, and those notable examples of hostelry art, Helen going off in high spirits on Paris's arm, and Dido on the tower dropping tears as big as walnuts. Nay, it may well be that on those journeys into remote
regions he came across now and then a specimen of the pauper gentleman, with his lean hack and his greyhound and his books of chivalry, dreaming
away his life in happy ignorance that the world had changed since his
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great-grandfather's old helmet was new. But it was in Seville that he found out his true vocation, though he himself would not by any means have admitted it to be so. It was there, in Triana, that he was first tempted to try his hand at drawing from life, and first brought his humour into play in the exquisite little sketch of "Rinconete y Cortadillo," the germ, in more ways than one, of "Don Quixote."
Where and when that was written, we cannot tell. After his imprisonment
all trace of Cervantes in his official capacity disappears, from which it
may be inferred that he was not reinstated. That he was still in Seville
in November 1598 appears from a satirical sonnet of his on the elaborate
catafalque erected to testify the grief of the city at the death of
Philip II, but from this up to 1603 we have no clue to his movements. The
words in the preface to the First Part of "Don Quixote" are generally held to be conclusive that he conceived the idea of the book, and wrote the beginning of it at least, in a prison, and that he may have done so
is extremely likely.
There is a tradition that Cervantes read some portions of his work to a select audience at the Duke of Bejar's, which may have helped to make the book known; but the obvious conclusion is that the First Part of "Don Quixote" lay on his hands some time before he could find a publisher bold enough to undertake a venture of so novel a character; and so little
faith in it had Francisco Robles of Madrid, to whom at last he sold it, that he did not care to incur the expense of securing the copyright for Aragon or Portugal, contenting himself with that for Castile. The printing was finished in December, and the book came out with the new year, 1605. It is often said that "Don Quixote" was at first received
coldly. The facts show just the contrary. No sooner was it in the hands
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of the public than preparations were made to issue pirated editions at Lisbon and Valencia, and to bring out a second edition with the additional copyrights for Aragon and Portugal, which he secured in February.
No doubt it was received with something more than coldness by certain sections of the community. Men of wit, taste, and discrimination among the aristocracy gave it a hearty welcome, but the aristocracy in general were not likely to relish a book that turned their favourite reading into ridicule and laughed at so many of their favourite ideas. The dramatists who gathered round Lope as their leader regarded Cervantes as their common enemy, and it is plain that he was equally obnoxious to the other clique, the culto poets who had Gongora for their chief. Navarrete, who knew nothing of the letter above mentioned, tries hard to show that the relations between Cervantes and Lope were of a very friendly sort, as indeed they were until "Don Quixote" was written. Cervantes, indeed, to the last generously and manfully declared his admiration of Lope's
powers, his unfailing invention, and his marvellous fertility; but in the preface of the First Part of "Don Quixote" and in the verses of "Urganda the Unknown," and one or two other places, there are, if we read between the lines, sly hits at Lope's vanities and affectations that argue no
personal goodwill; and Lope openly sneers at
