[50] The whole history, bibliographical and literary, of the pastoral movement in Spain may be studied in the searching and learned monograph of Professor Hugo Albert Rennert, _The Spanish Pastoral Romances_ (Baltimore, 1892). A minute examination of Texeda's plagiary, which escaped detection by Ticknor, will be found on pp. 39-42 of Professor Rennert's work. [51] The reference is, no doubt, to the passage in the fifth book of Montemôr's _Diana_: "Y tomando el vaso que tenía en la mano izquierda le puso en la suya á Sireno, y mando que lo bebiese, y Sireno lo hizo luego; y Selvagia y Silvano bebieron ambos el otro, y en este punto cayeron todos tres en el suelo adormidos, de que no poco se espantó Felismena y la hermosa Belisa que allí estaba...." Cp. Sannazaro's _Arcadia_ (_Prosa nona_, Scherillo's edition, p. 171): "Al quale subgiunse una lodula, dicendo, in una terra di Grecia (dela quale yo ora non so il nome) essere il fonte di Cupidine, del quale chiunche beve, depone subitamente ognie suo amore." The expedient of the magic water, to which Cervantes refers once more in the _Coloquio de los Perros_ (see vol. viii. of the present edition (Glasgow, 1902), p. 163), seems to be as old as most things in literature. Scherillo, in his valuable commentary to the _Arcadia_ cites a parallel from Pliny, _Naturalis Historia_, lib. xxxi., cap. 16: "Cyzici fons Cupidinis vocatur, ex quo potantes amorem deponere Mucianus credit." [52] It is just possible, however, that Cervantes may have omitted the _Habidas_ deliberately; for though Ticknor (_op. cit._, vol. iii., p. 99, _n._ 18), on the authority of Gayangos, quotes the book as "among the earliest imitations of the Diana," so excellent a scholar as Professor Rennert (_op. cit._, p. 111) inclines to think "that it is rather a 'Novela Caballeresca.'" [53] This seems to follow from the references in the _Viaje del Parnaso_: El fiero general de la atrevida Gente, que trae un cuervo en su estandarte, Es ARBOLANCHES, muso por la vida (cap. vii., ter. 81). And En esto, del tamaño de un breviario Volando un libro por el aire vino. De prosa y verso que arrojó el contrario. De verso y prosa el puro desatino Nos dió á entender que de ARBOLANCHES eran _Las Avidas_ pesadas de contino (cap. vii., ter. 60-61). These sallies have brought down on Cervantes the displeasure of implacable bibliographers. Salvá y Mallen (_op. cit._, vol. ii., pp. 19-20, no. 1518) drily observes that, as the book is almost wholly in verse, it does not at all correspond to Cervantes's description of it, and he gives us to understand (what most readers have realised for themselves) that, in criticism of his contemporaries, Cervantes--like the rest of the world--is prone to err.