[378] I possess of “Esplandian” the curious edition printed at Burgos, in folio, double columns, 1587, by Simon de Aguaya. It fills 136 leaves, and is divided into 184 chapters. As in the other editions I have seen mentioned or have noticed in public libraries, it is called “_Las Sergas_ del muy Esforçado Cavallero Esplandian,” in order to give it the learned appearance of having really been translated, as it pretends to be, from the Greek of Master Elisabad;--“Sergas” being evidently an awkward corruption of the Greek Ἔργα, _works_ or _achievements_. Allusions are made to it, as to a continuation, in the Amadis, Lib. IV.; besides which, in Lib. III. cap. 4, we have the birth and baptism of Esplandian; in Lib. III. c. 8, his marvellous growth and progress; and so on, till, in the last chapter of the romance, he is armed as a knight. So that the Esplandian is, in the strictest manner, a continuation of the Amadis. Southey (Omniana, Vol. I. p. 145) thinks there is some error about the authorship of the Esplandian. If there is, I think it is merely typographical. But, from the beginning, we find two mistakes committed, which run through the whole work. Amadis, represented as still alive, fills a large part of the canvas; while, at the same time, Esplandian is made to perform achievements intended to be more brilliant than his father’s, but which, in fact, are only more extravagant. From this sort of emulation, the work becomes a succession of absurd and frigid impossibilities. Many of the characters of the Amadis are preserved in it, like Lisuarte, who is rescued out of a mysterious imprisonment by Esplandian as his first adventure; Urganda, who, from a graceful fairy, becomes a savage enchantress; and “the great master Elisabad,” a man of learning and a priest, whom we first knew as the leech of Amadis, and who is now the pretended biographer of his son, writing, as he says, in Greek. But none of them, and none of the characters invented for the occasion, are managed with skill.