CERVANTES SAAVEDRA, MIGUEL DE (1547 1616), Spanish novelist, playwright and poet, was born at Alcala de Henares. He was the second son of Rodrigo de Cervantes, an apothecary-surgeon, and Leonor de Cortinas. The exact date of Cervantes' birth is not recorded; he was baptized on Oct. 9, in the church of Santa Maria la Mayor at Alcala. There are indi cations that Rodrigo de Cervantes resided at Valladolid in 15J4, at Madrid in 1561, at Seville in 1564-65, and at Madrid from 1566 onwards. It may be assumed that his family accompanied him. and it seems likely that either at Valladolid or at Madrid Cervan tes saw the famous actor-manager and dramatist, Lope de Rueda, of whose performances he speaks enthusiastically in the preface to his plays. In 1569 a Madrid schoolmaster, Juan Lopez de Hoyos, issued a work commemorative of Philip II.'s third wife, Isabel de Valois, who had died on Oct. 3, 1568. This volume, entitled Hys toria y relation verdadera de la en f ermedad, felicissimo trcinsito, y sumptuosas exequias f unebres de la Serenissima Reyna de Es pana Dona Isabel de Valoys, nuestra Senora, contains six contri butions by Cervantes : a sonnet, four redondillas, and an elegy. Lopez de Hoyos introduces Cervantes as "our dear and beloved pupil," and the elegy is dedicated to cardinal Espinosa "in the name of the whole school." It has been inferred that Cervantes was educated by Lopez de Hoyos, but this conclusion is untenable, for Lopez de Hoyos' school was not opened till 1567. On Oct. 13, 1568, Giulio Acquaviva, reached Madrid charged with a special mission to Philip II. ; he left for Rome on Dec. 2, and Cervantes is supposed to have accompanied him. This conjecture is based solely on a passage in the dedication of the Galatea, where the writer speaks of having been "camarero to cardinal Acquaviva at Rome." There is, however, no reason to think that Cervantes met Acquaviva in Madrid; the probability is that he enlisted as a supernumerary towards the end of 1568, that he served in Italy, and there entered the household of Acquaviva, who had been raised to the cardinalate on May 17, 1570. All that is known with certainty is that Cervantes was in Rome at the end of 1569, for on Dec. 22, of that year the fact was recorded in an official inf or mation lodged by Rodrigo de Cervantes with a view to proving his son's legitimacy and untainted Christian descent.
There is evidence, more or less, that he enlisted in the regular army in 157o; in 1571 he was serving as a private in the company commanded by Captain Diego de Urbina which formed part of Miguel de Moncada's famous regiment, and on Sept. 16 he sailed from Messina on board the "Marquesa," which formed part of the armada under Don John of Austria. At the battle of Lepanto (Oct. 7, 15 71) the "Marquesa" was in the thickest of the con flict. As the fleet came into action Cervantes lay below, ill with fever; but, despite the remonstrances of his comrades he vehe mently insisted on rising to take his share in the fighting and was posted with 12 men under him in a boat by the galley's side. He received three gunshot wounds, two in the chest, and one which permanently maimed his left hand—"for the greater glory of the right," in his own phrase. On Oct. 3o, the fleet returned to Messina, where Cervantes went into hospital, and during his convalescence received grants-in-aid amounting to 82 ducats. On April 29, 1572 he was transferred to Captain Manuel Ponce de Leon's company in Lope de Figueroa's regiment ; he shared in the indecisive naval engagement off Navarino on Oct. 7, in the capture of Tunis on Oct. io, 1573, and in the unsuc cessful expedition to relieve the Goletta in the autumn of The rest of his military service was spent in garrison at Palermo and Naples, and shortly after the arrival of Don John at Naples on June 18, 1575, Cervantes was granted leave to return to Spain; he received a recommendatory letter from Don John to Philip II., and a similar testimonial from the duke de Sessa, viceroy of Sicily. Armed with these credentials, Cervantes embarked on the "Sol" to push his claim for promotion in Spain.
On Sept. 26, 1575, near Les Trois Maries off the coast of Mar seilles, the "Sol" and its companion ships the "Mendoza" and the "Higuera" encountered a squad ron of Barbary corsairs under Arnaut Mami ; Cervantes, his brother Rodrigo and other Span iards were captured, and were taken as prisoners to Algiers. Cer vantes became the slave of a Greek renegade named Dali Mami, and, as the letters found on him were taken to prove that he was a man of importance in a position to pay a high ransom, he was put under special surveillance.
In 1576 he induced a Moor to guide him and other Christian captives to Oran; the Moor de serted them on the road, the baffled fugitives returned to Algiers, and Cervantes was treated with additional severity. In the spring of 1577 two priests of the Order of Mercy arrived in Algiers with a sum of 30o crowns entrusted to them by Cervantes' parents; the amount was insufficient to free him, and was spent in ransom ing his brother Rodrigo. Cervantes made another attempt to es cape in Sept. 1577, but was betrayed by the renegade whose serv ices he had enlisted. On being brought before Hassan Pasha, the viceroy of Algiers, he took the blame on himself, and was threatened with death ; struck, however, by the heroic bearing of the prisoner, Hassan remitted the sentence, and bought Cervantes from Dali Mami for 500 crowns. In 1577 the captive addressed to the Spanish secretary of State, Mateo Vazquez, a versified let ter suggesting that an expedition should be fitted out to seize Algiers; the project, though practicable, was not entertained. In 1578 Cervantes was sentenced to 2,000 strokes for sending a letter begging help from Martin de Cordoba, governor of Oran ; the pun ishment was not, however, inflicted on him. Meanwhile his family were not idle. In March, 1J78 his father presented a petition to the king setting forth Cervantes' services; the duke de Sessa re peated his testimony to the captive's merits; in the spring of Cervantes' mother applied for leave to export 2,000 ducats' worth of goods from Valencia to Algiers, and on July 31, 1579 she gave the Trinitarian monks, Juan Gil and Anton de la Bella, a sum of 25o ducats to be applied to her son's ransom. On his side Cervan tes was indefatigable, and towards the end of 1579 he arranged to secure a frigate ; but the plot was revealed to Hassan by Juan Blanco de Paz, a Dominican monk, who appears to have conceived an unaccountable hatred of Cervantes. Once more the conspira tor's life was spared by Hassan, who, it is recorded, declared that "so long as he had the maimed Spaniard in safe keeping, his Chris tians, ships and city were secure." On May 29, 1580 the two Trin itarians arrived in Algiers : they were barely in time, for Hassan's term of office was drawing to a close, and the arrangement of any ransom was a slow process, involving much patient bargaining. Hassan refused to accept less than soo gold ducats for his slave; the available funds fell short of this amount, and the balance was collected from the Christian traders of Algiers. Cervantes was al ready embarked for Constantinople when the money was paid on Sept. 19, 1580. The first use that he made of his liberty was to cause affidavits of his proceedings at Algiers to be drawn up; he sailed for Spain towards the end of October, landed at Denia in November, and made his way to Madrid. He signed an informa tion before a notary in that city on Dec. 18, 1580.
These dates prove that he cannot, as is often alleged, have served under Alva in the Portuguese campaign of 158o : that cam paign ended with the battle of Alcantara on Aug. 25, 1580. It seems certain, however, that he visited Portugal soon after his re turn from Algiers, and in May 1581, he was sent from Thomar on a mission to Oran. Construed literally, a formal statement of his services, signed by Cervantes on May 21, 1590 makes it appear that he served in the Azores campaigns of 1582-83 ; but the word ing of the document is involved, the claims of Cervantes are con fused with those of his brother Rodrigo (who was promoted en sign at the Azores), and on the whole it is doubtful if he took part in either of the expeditions under Santa Cruz. In any case, the stories of his residence in Portugal, and of his love affairs with a noble Portuguese lady, who bore him a daughter, are simple in ventions. From 1582-83 to 1587 Cervantes seems to have written copiously for the stage, and in the Adjunta al Parnaso he mentions several of his plays as "worthy of praise"; these were El Trato de Argel, La Numancia, La Gran Turquesa, La Batalla naval, La Jerusalen, La Arnaranta 6 la de Mayo, El Bosque amoroso, La Unica y Bizarra Arsinda—"and many others which I do not remember, but that which I most prize and pique myself on was and is, one called La Con f usa, which, with all respect to as many sword-and-cloak plays as have been staged up to the present, may take a prominent place as being good among the best." Of these only El Trato de Argel and La Numancia have survived, and, though La Numancia contains many fine rhetorical passages, both plays go to prove that the author's genius was not essentially dramatic. In Feb. 1584 he obtained a licence to print a pastoral novel entitled Primera parte de la Galatea, the copy right of which he sold on June 14, to Blas de Robles, a bookseller at Alcala de Henares, for 1,336 reales. On Dec. 12 he married Catalina de Palacios Salazar y Vozmediano of Esquivias, 18 years his junior. The Galatea was published in the spring of 1585. It was only twice reprinted—once at Lisbon (1590), and once at Paris (1611)—during the author's lifetime; but it won him a measure of repute; it was his favourite among his books, and dur ing the 3o years that remained to him he repeatedly announced the second part which is promised conditionally in the text. However, it is not greatly to be regretted that the continuation was never published, though the Galatea is interesting as the first deliberate bid for fame on the part of a great genius. It is an exercise in the pseudo-classic literature introduced into Italy by Sannazaro, and transplanted to Spain by the Portuguese Mon temor; and, ingenious or eloquent as the Renaissance prose-pas toral may be, its innate artificiality stifles Cervantes' rich and glowing realism. He himself recognized its defects; with all his weakness for the Galatea, he ruefully allows that "it proposes something and concludes nothing." Its comparative failure was a serious matter for Cervantes who had no other resource but his pen; his plays were probably less successful than his account of them would imply, and at any rate play-writing was not at this time a lucrative occupation in Spain. No doubt the death of his father on June 13, 1585, increased the burden of Cervantes' re sponsibilities; and the dowry of his wife, as appears from a document dated Aug. 9, 1586, consisted of nothing more valuable than five vines, an orchard, some household furniture, four bee hives, 45 hens and chickens, one cock and a crucible.
It had become evident that Cervantes could not gain his bread by literature, and in 1587 he went to Seville to seek employment in connection with the provisioning of the Invincible Armada. He was placed under the orders of Antonio de Guevara, and before Feb. 24 was excommunicated for excessive zeal in collecting wheat at Ecija. During the next few months he was engaged in gathering stores at Seville and the adjacent district, and after the defeat of the Armada he was retained as commissary to the galleys. Tired of the drudgery, and without any prospect of advancement, on May 21, 1590 Cervantes drew up a petition to the king, recording his services and applying for one of four posts then vacant in the American colonies; a place in the department of public accounts in New Granada, the governorship of Soconusco in Guatemala, the position of auditor to the galleys at Cartagena, or that of cor regidor in the city of La Paz. The petition was referred to the Council of the Indies, and was annotated with the words : "Let him look for something nearer home." In Nov. 1590 he was in such straits that he borrowed money to buy himself a suit of clothes, and in Aug. 1S92 his sureties were called upon to make good a deficiency of 795 reales in his accounts. His thoughts turned to literature once more, and on Sept. 5, 1592, he signed a contract with Rodrigo Osorio undertaking to write six plays at 5o ducats each, no payment to be made unless Osorio considered that each of these pieces was "one of the best ever produced in Spain." Nothing came of this agreement, and it appears that, be tween the date of signing it and Sept. 19, Cervantes was impris oned (for reasons unknown to us) at Castro del Rio. He was speedily released, and continued to perquisition as before in An dalusia; but his literary ambitions were not dead, and in May he won the first prize (three silver spoons) at a poetical tourney held in honour of St. Hyacinth at Saragossa. Shortly afterwards Cervantes found himself in difficulties with the ex chequer officials. He entrusted a sum of 7,400 reales to a mer chant named Simon Freire de Lima with instructions to pay the amount into the treasury at Madrid ; the agent became bankrupt and absconded, leaving Cervantes responsible for the deficit. By some means the money was raised, and the debt was liquidated on Jan. 21, 1597. But Cervantes' position was shaken, and his unbusi nesslike habits lent themselves to misinterpretation. On Sept. 6, he was ordered to find sureties that he would present himself at Madrid within 20 days, and there submit to the exchequer vouchers for all official moneys collected by him in Granada and elsewhere. No such sureties being available, he was committed to Seville gaol, but was released on Dec. 1, on condition that he complied with the original order of the court within 3o days. He was apparently unable to find bail, was dismissed from the public service, and sank into extreme poverty. During a mo mentary absence from Seville in Feb. 1599, he was again sum moned to Madrid by the treasury, but does not appear to have obeyed ; it is only too likely that he had not the money to pay for the journey. There is some reason to think that he was im prisoned at Seville in 1602, but nothing positive is known of his existence between 1600 and Feb. 8, 1603: at the latter date he seems to have been at Valladolid, to which city Philip III. had removed the court in 1601.
Since the publication of the Galatea in 1585 Cervantes' con tributions to literature had been limited to occasional poems. In 1S91 he published a ballad in Andres de Villalta's Flor de varios y nuevos romances; in 1595 he composed a poem, already men tioned, to celebrate the canonization of St. Hyacinth; in 1596 he wrote a sonnet ridiculing Medina Sidonia's tardy entry into Cadiz after the English invaders had retired, and in the same year his sonnet lauding Santa Cruz was printed in Cristobal Mosquera de Figueroa's Comentario en breve compendio de disciplina militar; to 1597 is assigned a sonnet (the authenticity of which is disputed) commemorative of the poet Herrera; in 1598 he wrote two son nets and a copy of quintillas on the death of Philip II. ; and in 1602 a complimentary sonnet from his pen appeared in the second edition of Lope de Vega's Dragontea. Curiously enough, it is by Lope de Vega that Don Quixote is first mentioned. Writing to an unknown correspondent (apparently a physician) on Aug. 14, 1604, Lope de Vega says that "no poet is as bad as Cervantes, nor so foolish as to praise Don Quixote," and he goes on to speak of his own plays as being odious to Cervantes. It is obvious that the two men had quarrelled since 1602, and that Lope de Vega smarted under the satire of himself and his works in Cervantes' forthcoming book; Don Quixote may have been circulated in manuscript, or may even have been printed before the official licence was granted on Sept. 26, 1604. It was published early in 1605, and was dedicated to the seventh duke de Bejar in phrases largely borrowed from the dedication in Herrera's edition (1580) of Garcilaso de la Vega, and from Francisco de Medina's preface to that work.
The mention of Bernardo de la Vega's Pastor de Iberia shows that the sixth chapter of Don Quixote cannot have been written before 1591. In the prologue Cervantes describes his master piece as being "just what might be begotten in a gaol"; on the strength of this passage, it has been thought that he conceived the story, and perhaps began writing it, during one of his terms of imprisonment at Seville between 1597 and 1602. Within a few weeks of its publication at Madrid, three pirated editions of Don Quixote were issued at Lisbon ; a second authorized edition, im perfectly revised, was hurried out at Madrid; and another reprint appeared at Valencia with an aprobacion dated July 18, 1605. With the exception of Aleman's Guzman de Al f arache, no Spanish book of the period was more successful. Modern criticism is prone to regard Don Quixote as a symbolic, didactic or controver sial work intended to bring about radical reforms in Church and State. Such interpretations did not occur to Cervantes' contem poraries, nor to Cervantes himself. There is no reason for rejecting his plain statement that his main object was to ridicule the ro mances of chivalry, which in their latest developments had become a tissue of tiresome absurdities. It seems clear that his first inten tion was merely to parody these extravagances in a short story; but as he proceeded the immense possibilities of the subject be came more evident to him, and he ended by expanding his work into a brilliant panorama of Spanish society as it existed during the 16th century. Nobles, knights, poets, courtly gentlemen, priests, traders, farmers, barbers, muleteers, scullions and con victs; accomplished ladies, impassioned damsels, Moorish beauties, simple-hearted country girls and kindly kitchen-wenches of ques tionable morals—all these are presented with the genial fidelity which comes of sympathetic insight. The immediate vogue of Don Quixote was due chiefly to its variety of incident, to its wealth of comedy bordering on farce, and perhaps also to its keen thrusts at eminent contemporaries; its reticent pathos, its large humanity, and its penetrating criticism of life were less speedily appreciated.
Meanwhile on April 12, 1605, Cervantes authorized his pub lisher to proceed against the Lisbon booksellers who threatened to introduce their piratical reprints into Castile. By June the cit izens of Valladolid already regarded Don Quixote and Sancho Panza as proverbial types. Practically nothing is known of Cer vantes' life between 1605 and 1608. A Relacion of the festivities held to celebrate the birth of Philip IV., and a certain Carta a don Diego Astudillo Carrillo have been erroneously ascribed to him ; during these three years he apparently wrote nothing beyond three sonnets, and one of these is of doubtful authenticity. The depositions of the Valladolid enquiry show that he was living in poverty five months after the appearance of Don Quixote, and the fact that he borrowed 450 reales from his publisher before Nov. 1607 would convey the idea that his position improved slowly, if at all. But it is difficult to reconcile this view of his circumstances with the details concerning his illegitimate daughter revealed in documents recently discovered. Isabel de Saavedra was stated to be a spinster when arrested at Valladolid in June, 1605 ; the settlement of her marriage with Luis de Molina in 1608 describes her as the widow of Diego Sanz, as the mother of a daughter eight months old, and as owning house-property of some value. These particulars are perplexing, and the situation is further compli cated by the publication of a deed in which Cervantes declares that he himself is the real owner of this house property, and that his daughter has merely a life-interest in it. This claim may be regarded as a legal fiction; it cannot easily be reconciled with Cervantes' statement towards the end of his life, that he was dependent on the bounty of the count de Lemos and of Ber nardo de Sandoval, cardinal-archbishop of Toledo. In 1609 he joined the newly founded confraternity of the Slaves of the Most Blessed Sacrament ; in 1610 Lemos was appointed viceroy of Naples, and Cervantes was keenly disappointed at not being chosen to accompany his patron. In 1611 he joined the Academia Selvaje, and there appears to have renewed his former friendly relations with Lope de Vega; in 1613 he dedicated his Novelas exemplares to the count de Lemos, and disposed of his rights for 1,600 reales and 24 copies of the book. The 12 tales in this vol ume, some of them written very much later than others, are of unequal merit, but they contain some of the writer's best work, and the two picaresque stories—Rinconete y Cortadillo and the Coloquio de los perros—are superb examples of their kind, and would alone entitle Cervantes to take rank with the greatest masters of Spanish prose. In 1614 he published the Viage del Parnaso, a burlesque poem suggested by the Viaggio in Parnaso (1582) of the Perugian poet Cesare Caporali. It contains some interesting autobiographical passages, much flattery of contem porary poetasters, and a few happy satirical totiches; but, though it is Cervantes' most serious bid for fame as a poet, it has sel dom been reprinted, and would probably have been forgotten but for an admirably humorous postscript in prose which is worthy of the author at his best. In the preface to his Ocho comedias y oclio entremeses nuevos (1615) he good-humouredly admits that his dramatic works found no favour with managers, and, when this collection was first reprinted (1749), the editor advanced the fantastic theory that the comedias were deliberate exercises in absurdity, intended to parody the popular dramas of the day. This view cannot be maintained, but a sharp distinction must be drawn between the eight set plays and the eight interludes; with one or two exceptions, the comedias or set plays are unsuccessful experiments in Lope de Vega's manner, while the entremeses or interludes, particularly those in prose, are models of spontaneous gaiety and ingenious wit.
In the preface to the Novelas exemplares Cervantes had an nounced the speedy appearance of the sequel to Don Quixote which he had vaguely promised at the end of the first part. He was at work on the 59th chapter of his continuation when he learned that he had been anticipated by Alonso Fernandez de Avellaneda of Tordesillas, whose Segundo tomo del ingenioso hi dalgo don Quixote de la Mancha was published at Tarragona in 1614. On the assumption that Fernandez de Avellaneda is a pseudonym, this spurious sequel has been ascribed to the king's confessor, Luis de Aliaga, to Cervantes' old enemy, Blanco de Paz, to his old friend, Bartolome Leonardo de Argensola, to the three great dramatists, Lope de Vega, Tirso de Molina and Ruiz de Alarcon, to Alonso Fernandez, to Juan Jose Marti, to Alfonso Lamberto, to Luis de Granada, and probably to others. Some of these attributions are manifestly absurd (for example, Luis de Granada died 17 years before the first part of Don Quixote was published) and all of them are improbable conjectures; if Avel laneda be not the real name of the author, his identity is still undiscovered. His book is not devoid of literary talent and robust humour, and possibly he began it under the impression that Cer vantes was no more likely to finish Don Quixote than to finish the Galatea. He should, however, have abandoned his project on reading the announcement in the preface to the Novelas exem plares; what he actually did was to disgrace himself by writing an insolent preface taunting Cervantes with his physical defects, his moral infirmities, his age, loneliness and experiences in gaol. He was too intelligent to imagine that his continuation could hold its own against the authentic sequel, and malignantly avowed his intention of being first in the field and so spoiling Cervantes' market. It is quite possible that Don Quixote might have been left incomplete but for this insulting intrusion; Cervantes was a leisurely writer and was, as he states, engaged on El Engano d los ojos, Las Semanas del Jardin and El Famoso Bernardo, none of which has been preserved. Avellaneda forced him to concen trate his attention on his masterpiece, and the authentic second part of Don Quixote appeared towards the end of 1615. The last 14 chapters are damaged by undignified denunciations of Avellaneda; but, apart from this, the second part of Don Quixote is an improvement on the first. The humour is more subtle and mature; the style is of more even excellence; and the characters of the bachelor and of the physician, Pedro Recio de Agiiero, are presented with a more vivid effect than any of the secondary characters in the first part. Cervantes had clearly profited by the criticism of those who objected to "the countless cudgellings in flicted on Senor Don Quixote," and to the irrelevant interpolation of extraneous stories in the text. Don Quixote moves through the second part with unruffled dignity; Sancho Panza loses some thing of his rustic cunning, but he gains in wit, sense and manners. The original conception is unchanged in essentials, but it is more logically developed, and there is a notable progress in construc tion. Cervantes had grown to love his knight and squire, and he understood his own creations better than at the outset; more com pletely master of his craft, he wrote his sequel with the unfalter ing confidence of a renowned artist bent on sustaining his reputa tion.
The first part of Don Quixote had been reprinted at Madrid in 1608; it had been produced at Brussels in 1607 and 1611, and at Milan in 010; it had been translated into English in 1612 and into French in 1614. Cervantes was celebrated in and out of Spain, but his celebrity had not brought him wealth. The mem bers of the French special embassy, sent to Madrid in Feb. 1615, under the Commandeur de Sillery, heard with amazement that the author of the Galatea, the Novelas exemplares and Don Quix ote was "old, a soldier, a gentleman and poor." He now worked assiduously at Los Trabajos de Persiles y Sigismunda, which, as he had jocosely prophesied in the preface to the second part of Don Quixote, would be "either the worst or the best book ever written in our tongue." It is the most carefully written of his prose works, ,and the least animated or attractive of them; signs of fatigue and of waning powers are unmistakably visible. On April 18, 1616, Cervantes received the sacrament of extreme unction; next day he wrote the dedication of Persiles y Sigismunda to the count de Lemos—the most moving and gallant of fare wells. He died at Madrid in the Calle del Leon on April 23; he was borne from his house "with his face uncovered," according to the rule of the Tertiaries of St. Francis, and on April 24 was buried in the church attached to the convent of the Trinitarian nuns in the Calle de Cantarranas. There he rests (the story of his remains being removed in 1633 to the Calle del Humilladero has no foundation in fact) but the exact position of his grave is unknown. Early in 1617 Persiles y Sigismunda was published, and passed through eight editions within two years; but the interest in it soon died away, and it was not reprinted between 1625 and 1719. Cervantes' wife died without issue on Oct. 31, 1626; his natural daughter, who survived both the child of her first marriage and her second husband, died on Sept. 20, 1652. Cervantes is rep resented solely by his works. The Novelas exemplares alone would give him the foremost place among Spanish novelists; Don Quixote entitles him to rank with the greatest writers of all time : "children turn its leaves, young people read it, grown men under stand it, old folk praise it." It has outlived all changes of lit erary taste, and is even more popular to-day than it was three centuries ago.
BIBLIOGRAPHY.--L. Rius Bibliografia critica de las obras de Miguel Bibliography.--L. Rius Bibliografia critica de las obras de Miguel de Cervantes Saavedra (1895-1905) ; Obras completas, ed. R. Academia Esp. (1917-23) ; ed. R. Schevill and A. Bonilla-San Martin (1914 23) ; Complete Works (Glasgow, 19o1–o6)—ed. James Fitzmaurice Kelly; Don Quijote (Madrid, 1916-17), ed. F. Rodriguez Marin; Don Quixote (London, 1898-99), ed. James Fitzmaurice-Kelly and John Ormsby ; Novelas ejemplares, ed. F. Rodriguez Marin (1914-17) ; En tremeses, ed. E. Cotarelo y Mori (1911)—See: A. Morel-Fatio L'Es pagne de Don Quichotte in Etudes sur l'Espagne (1895, 2me serie) ; R. Foulche-Delbosc Etude sur "La tie fingida," in the Revue hispan ique (1899), vol. vi. pp. 256-306; Julian Apraiz Estudio historico critico sobre las Novelas ejemplares de Cervantes (19o1) ; Francisco A. de Icaza Las Novelas ejemplares de Cervantes (1900 ; Francisco Rodriguez Marin El Loaysa de "El Celoso Extremeno" (Sevilla, 1901) ; P. Groussac Une Enigme litteraire; le Don Quichotte d'Avel laneda (1903) ; Alonso Fernandez de Avellaneda El ingenioso hidalgo Don Quixote de la Mancha (Barcelona, 1905)—ed. M. Menendez y Pelayo; J. Cejador y Frauca La League de Cervantes (1905–o6) ; C. Perez Pastor Documentos Cervantinos hasta ahora ineditos (1897 1902) ; J. Fitzmaurice-Kelly Miguel de Cervantes Saavedra, A Memoir (1913) ; F. Rodriguez Marin Nuevos documentos cervantinos haste ahora ineditos (1914) ; J. Fitzmaurice-Kelly Cervantes and Shake speare (1916) ; R. Schevill Cervantes (1919) ; Miguel de Unamuno The Life of Don Quixote and Sancho (1914; Eng. trans., 1927). (J. F.-K.)