t 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
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