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Still we cannot feel so sure as we should wish to be that Cervantes was of this mind. He longed to be an Arcadian, though he had no true vocation for the business. And yet the sagacious criticism of Berganza in the Coloquio de los perrosssss1 shows that he saw the absurdity of shepherds and shepherdesses passing "their whole lives in singing and playing on the pipes, bagpipes, rebecks, and hautboys, and other outlandish instruments." The intelligent dog perceived that all such tales as the Diana "are dreams well written to amuse the idle, and not truth at all, for, had they been so, there would have been some trace among my shepherds of that most happy life and of those pleasant meadows, spacious woods, sacred mountains, lovely gardens, clear streams and crystal fountains, and of those lovers' wooings as virtuous as they were eloquent, and of that swoon of the shepherd's in this spot, of the shepherdess's in that, of the bagpipe of one shepherd sounding here, and the flageolet of the other sounding there." Cervantes knew well enough that shepherds in real life were not called Lauso or Jacinto, but Domingo or Pablo; and that they spent most of their leisure, not in chanting elegies, but in catching fleas and mending their clogs. He tells us so. And that he realised the faults of his own performance is evident from the verdict pronounced on "the Galatea of Miguel de Cervantes" by the Priest in Don Quixote:—"That Cervantes has been for many years a great friend of mine, and to my knowledge he has had more experience in reverses than in verses. His book has some good invention in it, it presents us with something but brings nothing to a conclusion: we must wait for the Second Part it promises: perhaps with amendment it may succeed in winning the full measure of indulgence that is now denied it; and in the meantime do you, Señor Gossip, keep it shut up in your own quarters."ssss1