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Vímonos en un punto en el paraje,

Do la nutriz de Eneas piadoso

Hizo el forzoso y último pasaje.

Vimos desde allí á poco el más famoso

Monte que encierra en sí nuestro hemisfero,

Más gallardo á la vista y más hermoso.

Las cenizas de Títiro y Sincero

Están en él, y puede ser por esto

Nombrado entre los montes por primero.

In the Galatea, enthusiasm takes the form of conscientious imitation. It cannot be mere coincidence that Ergasto's song— Alma beata et bella—is echoed by Elicio as O alma venturosa; that such a ritornello as Ricominciate, o Muse, il vostro pianto reappears as Pastores, entonad el triste canto; that Ponete fin, o Muse, al vostro pianto is rendered as Pastores, cesad ya del triste canto. The sixth book of the Galatea is an undisguised adaptation of Sannazaro's work. In view of these resemblances, and many others indicated by Professor Scherillo,ssss1 the large indebtedness of Cervantes to Sannazaro cannot be denied.

Nor are León Hebreo and Sannazaro Cervantes's sole creditors. The Canto de Calíope, which commemorates the merits of a hundred poets and poetasters, was probably suggested by the Canto de Turia in the third book of Gil Polo's Diana enamorada, or by the list of rhymers in Boscán's Octava Rima, or even by a similar catalogue interpolated in the thirty-eighth canto of Luis Zapata's unreadable epic, Carlos famoso.ssss1 It may be pleaded for Cervantes that he admired Boscán, Gil Polo, and Zapata, and that his imitation of them is natural enough. Sea muy enhorabuena. The same explanation cannot apply to the uncanny resemblance, which Professor Rennertssss1 has pointed out, between the address to Nisida in the third book of the Galatea and the letter to Cardenia in the second book of Alonso Pérez' worthless sequel to Montemôr's Diana. Had Cervantes remembered this small loan when writing the sixth chapter of Don Quixote, gratitude would probably have led him to pass a more lenient sentence on the impudent Salamancan doctor.