With the first two masters it was an incessant fight against starvation. Lazaro’s resourceful ingenuity was conspicuous, and, under the circumstances, he had a perfect right to use all his wits against the wretches who ill-treated him. But there was no opportunity of bringing out his finer qualities. With the third master it was very different. He was a penniless esquire, starving himself, and so excessively proud that he thought only of concealing his poverty. Lazaro had to resort to begging, and so he kept his poor master, as well as himself, alive. Here Lazaro comes out in an excellent light. [Sidenote: Lazaro’s higher qualities shown in his intercourse with the esquire.] He was not only kind-hearted and generous, but he showed tact and a wish to avoid hurting the poor proud creature’s feelings. Don Diego thus shows his hero in the light of one of nature’s gentlemen. The esquire’s account of himself, and his views of honour and its obligations are interesting, as showing a type of character which was common in Spain in those days. It was more elaborately portrayed by Cervantes. Lazaro is made to tell the story of the seller of Indulgences, and a very amusing story it is, no doubt true to life. For it aroused the anger of the Inquisition, and was expurgated from future editions. But Lazaro merely appears as a narrator; and his character is not developed; though it is in the rapid sketch of his rise to prosperity. [Sidenote: Development of Lazaro’s character.] He was a lad who was liked. His girl-friends who were kind to him in adversity, as well as the archpriest and many others who were good friends when he rose to prosperity, showed that he was a favourite among those with whom he came in contact. His marriage brought him great advantages. Critics have called it disgraceful, because we are told that evil tongues suggested that the girl had been the archpriest’s mistress. But there is nothing in the narrative to justify the belief that the evil tongues did not lie. On the contrary, the conclusion is the other way, and the story ends with a defence of his wife by Lazaro himself. The work is the production of a genius. [Sidenote: Merits of the work.] Its originality, and the admirable way in which the stories in it are told make it deserving of a wider audience, though of course it is well known to students of the literature of Europe. Seldom has so much wit, fun, and wisdom been gathered into so small a compass. PROLOGUE