nce set
about redeeming his rather vague promise of a second volume.

But, to all appearance, nothing was farther from his thoughts. He had
still by him one or two short tales of the same vintage as those he had
inserted in "Don Quixote" and instead of continuing the adventures of Don
Quixote, he set to work to write more of these "Novelas Exemplares" as he
afterwards called them, with a view to making a book of them.

The novels were published in the summer of 1613, with a dedication to the
Conde de Lemos, the Maecenas of the day, and with one of those chatty
confidential prefaces Cervantes was so fond of. In this, eight years and
a half after the First Part of "Don Quixote" had appeared, we get the
first hint of a forthcoming Second Part. "You shall see shortly," he
says, "the further exploits of Don Quixote and humours of Sancho Panza."
His idea of "shortly" was a somewhat elastic one, for, as we know by the
date to Sancho's letter, he had barely one-half of the book completed
that time twelvemonth.

But more than poems, or pastorals, or novels, it was his dramatic
ambition that engrossed his thoughts. The same indomitable spirit that
kept him from despair in the bagnios of Algiers, and prompted him to
attempt the escape of himself and his comrades again and again, made him
persevere in spite of failure and discouragement in his efforts to win
the ear of the public as a dramatist. The temperament of Cervantes was
essentially sanguine. The portrait he draws in the preface to the novels,
with the aquiline features, chestnut hair, smooth untroubled forehead,
and bright cheerful eyes, is the very portrait of a sanguine man. Nothing
that the managers might say could persuade him that the merits of his
plays would not be recognised at last if they were only given a fair
chance. The old soldier of the Spanish Salamis was bent on being the
Aeschylus of Spain. He was to found a great national drama, based on the
true principles of art, that was to be the envy of all nations; he was to
drive from the stage the silly, childish plays, the "mirrors of nonsense
and models of folly" that were in vogue through the cupidity of the
managers and shortsightedness of the authors; he was to correct and
educate the public taste until it was ripe for tragedies on the model of
the Greek drama--like the "Numancia" for instance--and comedies that
would not only amuse but improve and instruct. All this he was to do,
could he once get a hearin