as the model of his interludes. This first glimpse, however, is a significant one, for it shows the early development of that love of the drama which exercised such an influence on his life and seems to have grown stronger as he grew older, and of which this very preface, written only a few months before his death, is such a striking proof. He gives us to understand, too, that he was a great reader in his youth; but of this no assurance was needed, for the First Part of "Don Quixote" alone proves a vast amount of miscellaneous reading, romances of chivalry, ballads, popular poetry, chronicles, for which he had no time or opportunity except in the first twenty years of his life; and his misquotations and mistakes in matters of detail are always, it may be noticed, those of a man recalling the reading of his boyhood.
Other things besides the drama were in their infancy when Cervantes was a boy. The period of his boyhood was in every way a transition period for Spain. The old chivalrous Spain had passed away. Its work was done when Granada surrendered. The new Spain was the mightiest power the world had seen since the Roman Empire, and it had not yet been called upon to pay the price of its greatness. By the policy of Ferdinand and Ximenez the sovereign had been made absolute, and the Church and Inquisition adroitly adjusted to keep him so. The nobles, who had always resisted absolutism as strenuously as they had fought the Moors, had been divested of all political power, a like fate had befallen the cities, the free constitutions of Castile and Aragon had been swept away, and the only function that remained to the Cortes was that of granting money at the King's dictation. But the loss of liberty was not felt immediately, for Charles V. was like an accomplished horseman with a firm seat and a light hand, who can manage the steed without fretting it, and make it do his will while he leaves its movements to all appearance free.
The transition extended to literature. Men who, like Garcilaso de la Vega and Diego Hurtado de Mendoza, followed the Italian wars, had brought back from Italy the products of the post-Renaissance literature, which took root and flourished and even threatened to extinguish the native growths. Damon and Thyrsis, Phillis and Chloe had been fairly naturalized in Spain, together with all the devices of pastoral poetry for investing with an air of novelty the idea of a despairing shepherd and inflexible shepherdess. Sannazaro's "Arcadia"
