In view of the dying man's words it is exceptionally difficult to believe that not a line of this sequel was actually written. It is equally difficult to believe that, if the _Galatea_ existed in a fragmentary state, the widow, the daughter, the son-in-law, the patron, the publisher, the personal friends, the countless admirers of the most illustrious and most popular novelist in all the Spains, should have failed to print it. We cannot even venture to guess what the facts of the case really were. From Cervantes's repeated declarations it would seem probable that he left a considerable amount of literary manuscript almost ready for the Licenser. With the exception of _Persiles y Sigismunda_, every shred of every work that he mentions as being in preparation has vanished. It would be strange if this befell an author of secondary rank: it is incomprehensible when we consider Cervantes's unique position, recognized in and out of Spain. All we know is this: that, on Cervantes's lips, _con brevedad_ might mean--in fact, did mean--more than thirty years, and that the sequel to the _Galatea_, though promised on five separate occasions, never appeared. Providence would seem to have decreed against the completion of many Spanish pastorals. Montemôr's _Diana_, the sequels to it by Pérez and Gil Polo, all remained unfinished: the _Galatea_ is unfinished, too. It is possible, but unlikely, that the world has been defrauded of a masterpiece. Yet, unsuited as was the pastoral _genre_ to the exercise of Cervantes's individual genius, we should eagerly desire to study his treatment of the old theme in the maturity of his genius and with the consciousness that his splendid reputation was at stake. He might perhaps have given us an anticipation in prose of Lope de Vega's play, _La Arcadia_,[90] a brilliant, poetic parody after Cervantes's own heart. Fate has ruled against us, and The unfinished window in Aladdin's tower Unfinished must remain.[91] The pastorals lived on for many years in Spain[92] and out of it; but _Don Quixote_, the _Novelas exemplares_, _Guzmán de Alfarache_, and the growing crowd of picaresque realistic tales had so completely supplanted them in popular favour that Cervantes himself could scarcely have worked the miracle of restoring their former vogue among his countrymen.