bated a phantom of his own imagination. Some personal quarrel had probably existed between these authors, as the preface of Avelleneda contains not only much unfair criticism on the writings of his enemy, but a vast deal of personal abuse: he reminds him that he is now as old as the castle of San Cervantes, and so churlish that no friend will furnish his works with commendatory sonnets, which he is in consequence obliged to borrow from Prester John. The only apology, he continues, for the absurdities of the first part of Don Quixote is, that it was written in prison, and must necessarily have been infected with the filth of such a residence. Cervantes probably felt that his old age, poverty, and imprisonment, were not very suitable subjects of ridicule to his countrymen; and the provocation he had received certainly justified his censure of Avelleneda in the second part of Don Quixote.

The work of Avelleneda, which is thus loaded with personal abuse, is also full of the most unblushing plagiarisms from Cervantes, from whom he principally differs by his incidents chiefly glancing at Don Belianis, instead of Amadis de Gaul. In the continuation by Avelleneda, Don Quixote's brain being anew heated by the perusal of romances, he condemns himself for his inactive life, and for

emitting the duties incumbent on him, in the deliverance of the earth from those haughty giants, who, against all right and reason, insult both knights and ladies. Discovering that Dulcinea is too reserved a princess, he resolves to be called the Loveless Knight (Caballero Desamorado), and to obliterate her recollection, which he justifies by the example of the Knight of the Sun, who in similar circumstances forsook Claridiana. At the commencement of his career, he mistakes an inn for a castle, the vintner for the constable, and a Galician wench, who corresponds to Maritornes, for a distressed Infanta; on entering Saragossa he delivers a criminal from the lash of the alguazils, whom he believes to be infamous and outrageous knights, an incident evidently borrowed from the Galley Slaves of Cervantes.

On the other hand, either Avelleneda must have privately had access to the materials of the second part of Cervantes, or he has been imitated in turn. Thus, in the work of Avelleneda, we have the whole scheme of Sancho's government; and Don Alvaro de Tarfo, who encourages Don Quixote in his folly, by presenting him with persons dressed up as knights and giants, who come to defy him from all quarters of the globe, corresponds to the duke in the second part of Cervantes.

The two works are on the whole pretty much in the same tone; but we are told in the prefaces to the Spanish editions and French translations of Avelleneda, that in the peninsula he is generally thought to have surpassed Cervantes in the deli neation of the character of Sancho, which, as drawn by Cervantes, is supposed to be a little inconsistent, since he sometimes talks like a guile. less peasant, and at other times as an arch and malicious knave. The Don Quixote, too, of Avelleneda never displays the good sense which the hero of Cervantes occasionally exhibits, and in his madness is more absurd and fantastical, especially when he indulges in visions of what is about to happen :-"I will then draw near the giant, and without ceremony say, Proud giant, I will fight you on condition the conqueror cut off the vanquished enemy's head. All giants being naturally haughty, he will accept the condition, and he will come down from his chariot, and mount a white elephant led by a little dwarf, his squire, who, riding a black elephant, carries his lance and buckler. Then we shall commence our career, and he will strike my armour, but not pierce it, because it is enchanted; he will then utter a thousand blasphemies against heaven, as is the custom of giants," &c. &c. Of this work of Avelleneda,

there is a French paraphrastical translation, attributed to Le Sage, from which Baker's English translation was formed. In Le Sage's version there are many interpolations, one of which is a story introduced in Pope's Essay on Criticism:

"Once on a time La Mancha's knight, they say,
A certain bard encountering on the way," &c.

The catastrophe is also totally changed. In the French work Don Quixote is shot in a scuffle, whereas in the Spanish original he is shut up in a mad-house at Toledo by Don Alvaro de Tarfo, who had contributed so much to the increase of his phrenzy.

Le Sage is also the reputed author of a sequel of the genuine Don Quixote, in which there are introduced a number of Spanish stories, and the adventures of Sancho after his master's death.

A work of the popularity of Don Quixote could not fail to produce numerous imitations. Of these, by far the most distinguished is Hudibras, the hero of which is a presbyterian justice, who, accompa nied by a clerk of the sect of Independants, ranges the country in the rage of zealous ignorance, with the view of correcting abuses and repressing su perstition. But much closer imitations have appeared in a more recent period. In Pharsamon

ou les Nouvelles folies Romanesques, the earliest work of the celebrated Marivaux, and the Sir Launcelot Greaves of Smollet, the heroes are struck with the same species of phrenzy with Don Quixote, which makes the resemblance too striking. In other imitations, a different species of madness is represented. Thus, in the Female Quixote, by Mrs Lennox, published in 1752, which is a satire on the romances of the school of Gomberville and Scuderi, the heroine is a lady of rank and amiable qualities, but, being brought up by her father in perfect seclusion, and accustomed to the constant perusal of such works as Clelia and Artamenes, she at length believes in the reality of their incidents, and squares her conduct to their fantastical representations. She fancies that every man is secretly in love with her, and lives in continual apprehension of being forcibly carried off. Her father's gardener she supposes to be a person of sublime quality in disguise; she also asks a waiting-maid to relate her lady's adventures, which happened to be of a nature not fit to be talked of, and discards a sensible lover, because she finds him deficient in the code of gallantry prescribed in her favourite compositions.

In the Berger Extravagant of Sorel, pastoral romance is ridiculed on a similar system: but per