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_.[65] 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 Rennert[66] 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. It was in strict accordance with the pastoral tradition that the author should introduce himself and his friends into his story. In Virgil's Fifth Eclogue, Daphnis was said to stand for Julius Cæsar, Mopsus for Æmilius Macer of Verona, Menalcas for the poet himself. Sannazaro had, it was believed, revived the fashion in Italy.[67] Ribeiro presented himself to the public as Bimnardel, Montemôr asked for sympathy under the name of Sireno, and Sir Philip Sidney masqueraded as Pyrocles. In the _Pastor de Fílida_, it is understood that Mendino is Don Enrique de Mendoza y Aragón, that Pradileo is the Conde de Prades (Luis Ramón y Folch), that Silvano is the poet Gregorio Silvestre, that Tirsi is Francisco de Figueroa (or, as some rashly say,[68] Cervantes), and that Montalvo himself appears as Siralvo. The new recruit observed the precedents and, if we are to accept the authority of Navarrete,[69] the Tirsi, Damon, Meliso, Siralvo, Lauso, Larsileo, and Artidoro of the _Galatea_ are pseudonyms for Francisco de Figueroa, Pedro Láinez, Diego Hurtado de Mendoza, Luis Gálvez de Montalvo, Luis Barahona de Soto, Alonso de Ercilla, and Andrés Rey de Artieda respectively.[70] Lastly, commentators and biographers are mostly agreed that the characters of Elicio and Galatea stand for Cervantes and for Doña Catalina de Palacios Salazar y Vozmediano[71] whom he married some ten months after the official _Aprobación_ to his novel was signed. We know on Cervantes's own statement that many of his shepherds were shepherds in appearance only,[72] and Lope de Vega confirms the tradition;[73] but we shall do well to remember that, in attempting to identify the characters of a romance with personages in real life, conjecture plays a considerable part.[74] Some of the above identifications might easily be disputed, and, at the best, we can scarcely doubt that most of the likenesses given by Cervantes in the _Galatea_ are composite portraits.