It has been remarked in the text of this Introduction (p. xxxv) that Cervantes applies the word _discreta_ with distressing frequency to his heroine and her sister shepherdesses. The repetition of this adjective appears to have produced a considerable impression on the Lisbon publisher, Antonio Álvarez, for his edition--No. (6) in the above list--is entitled _La discreta Galatea_. No. (5) is also said to be entitled _La discreta Galatea_. But on this point no one, save the Marqués de Jerez de los Caballeros, can speak with any certainty. [103] Koerting (_op. cit._, vol. i., p. 65) states that d'Audignier translated the _Galatea_ into French in 1618. This is a mistake. Koerting was probably thinking of the _Novelas exemplares_. Six of these (_La Española inglesa_, _Las dos Doncellas_, _La Señora Cornelia_, _La Ilustre fregona_, _El Casamiento engañoso_, and the _Coloquio de los perros_) were translated by d'Audignier in 1618, the remaining tales being rendered by Rosset. [104] Now best remembered, perhaps, by Giovanni Martini's setting of the _romance_-- Plaisir d'amour ne dure qu'un moment-- which, sung by that incomparable artist, Madame Pauline Viardot-Garcia (sister of Malibran, and wife of the well-known Spanish scholar, Louis Viardot), delighted our fathers and mothers. It may be worth noting that the song is assigned to the goatherd in _Célestine: Nouvelle Espagnole_. Readers of contemporary literature will remember the adaptation of the opening words by the Baron Desforges in M. Paul Bourget's _Mensonges_. [105] _Causeries du lundi_ (Troisième édition, Paris), vol. iii., p. 236. Joubert's appreciation of Florian's talent is practically the same as Sainte-Beuve's. In his _Pensées_ (titre xxiv., art. xxxi.), he expresses himself thus, concerning Florian's extremely free rendering of _Don Quixote_, first published in 1799: "Cervantes a, dans son livre, une bonhomie bourgeoise et familière, à laquelle l'élégance de Florian est antipathique. En traduisant _Don Quichotte_, Florian a changé le mouvement de l'air, la clef de la musique de l'auteur original. Il a appliqué aux épanchements d'une veine abondante et riche les sautillements et les murmures d'un ruisseau: petits bruits, petits mouvements, très-agréables sans doute quand il s'agit d'un filet d'eau resserré qui roule sur des cailloux, mais allure insupportable et fausse quand on l'attribue à une eau large qui coule à plein canal sur un sable très-fin."