"The graduated took their revenge. When Cervantes acquired celebrity they recollected that he had taken no degree. When he thought an employ they applied to him by way of iron brand the epithet, _Ingenio Lego_, 'He is not of ours,' said they; 'he is not a cleric.' The day when he attracted the attention of all Europe their anger was excessive towards the writer who possessed talent without permission, and genius without a diploma. Cervantes gaily replied, that he admired their pedantic learning, their books bristling with quotations, the complements they paid each other in Greek, their erudition, their marginal notes, their doctors' degrees, but that he himself was naturally lazy, and did not care to search in authors for what he was able to say without them; and finally, that when there is a dull or foolish thing to be expressed, it will do in Spanish as well in Latin." He was smarting under the contempt of the learned asses of his day when writing the preface to his Don Quixote: "Alas, the story of Don Quixote is as bare has a rush! Ah, if the author could do as others,--cite at the head of the book a litany of authorities in alphabetic order, commencing with Aristotle and ending with Xenophon or Zoilus! But the poor Cervantes can find nothing of all this. There he sits, paper before him, the pen behind his ear, his elbow on the table, his cheek in his hand, and himself all unable to discover pertinent sentences or ingenious trifles to adorn his subject. Happily a humorous and intelligent friend enters and brings relief. 'Quote,' said he, 'and continue to quote; the first sentence that comes to hand will answer. "Pallida mors aequo pede" is as good as another. Horace will come in well anywhere, and you can even make use of the Holy Scriptures. The giant Golias or Goliath was a Philistine, whom David the shepherd slew with a stone from a sling in the valley of Terebinthus, as is related in the Book of Kings in the chapter where it is to be found.'" THE FIRST PLAYS AT WHICH HE ASSISTED. The earliest instructors of our brave romancer and poet were the excellent clergyman Juan Lopez de Hoyos, who took pride and pleasure in expanding the intellects of clear-headed pupils, and the talented strolling actor, Lope de Rueda, who at a time (middle of sixteenth century) when neither Alcala nor even Madrid could boast a suitably appointed theatre, went from town to town, and amused the inhabitants from his rudely contrived stage. This consisted of a platform of loose planks supported by trestles, and a curtain as respectable as could be afforded, doing duty as permanent scene, and affording a hiding-place behind it to the actors when not performing, and to the few musicians who occasionally chanted some romantic ballad.