The first edition of Esplandian was published at Seville in 1542. The greater part of it seems to have been composed by Montalvo, the original translator of Amadis. But whereas when he penned that work he acted the part of a translator only, in Esplandian he undertook the rôle of authorship proper, and that he failed to discern the wide distinctions which separate these tasks is rather painfully apparent. It seems to me, however, a mistaken criticism which brands Esplandian as entirely lacking in merit, and I suspect that more than one of the censorious folk who have thus entreated it have not perused it in the original, or have merely taken Cervantes' word regarding its lack of quality. It is notorious that many English critics seem to believe it possible to pass a verdict upon works written in Spanish without possessing more than a nodding acquaintance with the language, and the absurd idea obtains among many men of letters, who ought to know better, that, given a knowledge of Latin and French, the acquisition of the Castilian tongue is merely a matter of a little reading. Esplandian possesses many quaint beauties, and the fairy 'machinery' and rather distinguished simplicity of its atmosphere make it most pleasant and delectable to peruse. Where, too, may we encounter a better or more representative example of romantic extravagance at its best?--for Esplandian, without exhibiting the grosser faults of its descendants, has the rich and varied colour of that imaginative excess which is the birthright of all true poets, and in the discipline of which all are not successful. I quite admit, however, that Esplandian is food for the enthusiast, and I do not recommend its perusal to unromantic souls. It is not for the barbers and curates of this world, and pity 'tis that they who cannot appreciate its spirit should attempt to influence others to its detriment.