## THE HISTORY OF DON QUIXOTE, Vol. I., Part 18.

    The Project Gutenberg EBook of The History of Don Quixote, Vol. I., Part
    18., by Miguel de Cervantes

    This eBook is for the use of anyone anywhere at no cost and with
    almost no restrictions whatsoever.  You may copy it, give it away or
    re-use it under the terms of the Project Gutenberg License included
    with this eBook or online at www.gutenberg.net

    Title: The History of Don Quixote, Vol. I., Part 18.

    Author: Miguel de Cervantes

    Release Date: July 19, 2004 [EBook #5920]

    Language: English

    Character set encoding: ISO-8859-1

    *** START OF THIS PROJECT GUTENBERG EBOOK DON QUIXOTE, PART 18 ***

    Produced by David Widger

# DON QUIXOTE

## by Miguel de Cervantes

### Translated by John Ormsby

### Volume I., Part 18.
Chapters 51-52

### Ebook Editor's Note

> > > > The book cover and spine above and the images which follow were not part of the original Ormsby translation—they are taken from the 1880 edition of J. W. Clark, illustrated by Gustave Dore. Clark in his edition states that, "The English text of 'Don Quixote' adopted in this edition is that of Jarvis, with occasional corrections from Motteaux." See in the introduction below John Ormsby's critique of both the Jarvis and Motteaux translations. It has been elected in the present Project Gutenberg edition to attach the famous engravings of Gustave Dore to the Ormsby translation instead of the Jarvis/Motteaux. The detail of many of the Dore engravings can be fully appreciated only by utilizing the "Enlarge" button to expand them to their original dimensions. Ormsby in his Preface has criticized the fanciful nature of Dore's illustrations; others feel these woodcuts and steel engravings well match Quixote's dreams. D.W.

## CONTENTS

    CHAPTER LI
    WHICH DEALS WITH WHAT THE GOATHERD TOLD THOSE WHO
    WERE CARRYING OFF DON QUIXOTE

    CHAPTER LII
    OF THE QUARREL THAT DON QUIXOTE HAD WITH THE GOATHERD,
    TOGETHER WITH THE RARE ADVENTURE OF THE PENITENTS,
    WHICH WITH AN EXPENDITURE OF SWEAT HE BROUGHT TO
    A HAPPY CONCLUSION

## CHAPTER LI.

### WHICH DEALS WITH WHAT THE GOATHERD TOLD THOSE WHO WERE CARRYING OFF DON QUIXOTE

Three leagues from this valley there is a village which, though small, is one of the richest in all this neighbourhood, and in it there lived a farmer, a very worthy man, and so much respected that, although to be so is the natural consequence of being rich, he was even more respected for his virtue than for the wealth he had acquired. But what made him still more fortunate, as he said himself, was having a daughter of such exceeding beauty, rare intelligence, gracefulness, and virtue, that everyone who knew her and beheld her marvelled at the extraordinary gifts with which heaven and nature had endowed her. As a child she was beautiful, she continued to grow in beauty, and at the age of sixteen she was most lovely. The fame of her beauty began to spread abroad through all the villages around—but why do I say the villages around, merely, when it spread to distant cities, and even made its way into the halls of royalty and reached the ears of people of every class, who came from all sides to see her as if to see something rare and curious, or some wonder-working image?

Her father watched over her and she watched over herself; for there are no locks, or guards, or bolts that can protect a young girl better than her own modesty. The wealth of the father and the beauty of the daughter led many neighbours as well as strangers to seek her for a wife; but he, as one might well be who had the disposal of so rich a jewel, was perplexed and unable to make up his mind to which of her countless suitors he should entrust her. I was one among the many who felt a desire so natural, and, as her father knew who I was, and I was of the same town, of pure blood, in the bloom of life, and very rich in possessions, I had great hopes of success. There was another of the same place and qualifications who also sought her, and this made her father's choice hang in the balance, for he felt that on either of us his daughter would be well bestowed; so to escape from this state of perplexity he resolved to refer the matter to Leandra (for that is the name of the rich damsel who has reduced me to misery), reflecting that as we were both equal it would be best to leave it to his dear daughter to choose according to her inclination—a course that is worthy of imitation by all fathers who wish to settle their children in life. I do not mean that they ought to leave them to make a choice of what is contemptible and bad, but that they should place before them what is good and then allow them to make a good choice as they please. I do not know which Leandra chose; I only know her father put us both off with the tender age of his daughter and vague words that neither bound him nor dismissed us. My rival is called Anselmo and I myself Eugenio—that you may know the names of the personages that figure in this tragedy, the end of which is still in suspense, though it is plain to see it must be disastrous.

About this time there arrived in our town one Vicente de la Roca, the son of a poor peasant of the same town, the said Vicente having returned from service as a soldier in Italy and divers other parts. A captain who chanced to pass that way with his company had carried him off from our village when he was a boy of about twelve years, and now twelve years later the young man came back in a soldier's uniform, arrayed in a thousand colours, and all over glass trinkets and fine steel chains. To-day he would appear in one gay dress, to-morrow in another; but all flimsy and gaudy, of little substance and less worth. The peasant folk, who are naturally malicious, and when they have nothing to do can be malice itself, remarked all this, and took note of his finery and jewellery, piece by piece, and discovered that he had three suits of different colours, with garters and stockings to match; but he made so many arrangements and combinations out of them, that if they had not counted them, anyone would have sworn that he had made a display of more than ten suits of clothes and twenty plumes. Do not look upon all this that I am telling you about the clothes as uncalled for or spun out, for they have a great deal to do with the story. He used to seat himself on a bench under the great poplar in our plaza, and there he would keep us all hanging open-mouthed on the stories he told us of his exploits. There was no country on the face of the globe he had not seen, nor battle he had not been engaged in; he had killed more Moors than there are in Morocco and Tunis, and fought more single combats, according to his own account, than Garcilaso, Diego Garcia de Paredes and a thousand others he named, and out of all he had come victorious without losing a drop of blood. On the other hand he showed marks of wounds, which, though they could not be made out, he said were gunshot wounds received in divers encounters and actions. Lastly, with monstrous impudence he used to say "you" to his equals and even those who knew what he was, and declare that his arm was his father and his deeds his pedigree, and that being a soldier he was as good as the king himself. And to add to these swaggering ways he was a trifle of a musician, and played the guitar with such a flourish that some said he made it speak; nor did his accomplishments end here, for he was something of a poet too, and on every trifle that happened in the town he made a ballad a league long.

This soldier, then, that I have described, this Vicente de la Roca, this bravo, gallant, musician, poet, was often seen and watched by Leandra from a window of her house which looked out on the plaza. The glitter of his showy attire took her fancy, his ballads bewitched her (for he gave away twenty copies of every one he made), the tales of his exploits which he told about himself came to her ears; and in short, as the devil no doubt had arranged it, she fell in love with him before the presumption of making love to her had suggested itself to him; and as in love-affairs none are more easily brought to an issue than those which have the inclination of the lady for an ally, Leandra and Vicente came to an understanding without any difficulty; and before any of her numerous suitors had any suspicion of her design, she had already carried it into effect, having left the house of her dearly beloved father (for mother she had none), and disappeared from the village with the soldier, who came more triumphantly out of this enterprise than out of any of the large number he laid claim to. All the village and all who heard of it were amazed at the affair; I was aghast, Anselmo thunderstruck, her father full of grief, her relations indignant, the authorities all in a ferment, the officers of the Brotherhood in arms. They scoured the roads, they searched the woods and all quarters, and at the end of three days they found the flighty Leandra in a mountain cave, stript to her shift, and robbed of all the money and precious jewels she had carried away from home with her.

They brought her back to her unhappy father, and questioned her as to her misfortune, and she confessed without pressure that Vicente de la Roca had deceived her, and under promise of marrying her had induced her to leave her father's house, as he meant to take her to the richest and most delightful city in the whole world, which was Naples; and that she, ill-advised and deluded, had believed him, and robbed her father, and handed over all to him the night she disappeared; and that he had carried her away to a rugged mountain and shut her up in the eave where they had found her. She said, moreover, that the soldier, without robbing her of her honour, had taken from her everything she had, and made off, leaving her in the cave, a thing that still further surprised everybody. It was not easy for us to credit the young man's continence, but she asserted it with such earnestness that it helped to console her distressed father, who thought nothing of what had been taken since the jewel that once lost can never be recovered had been left to his daughter. The same day that Leandra made her appearance her father removed her from our sight and took her away to shut her up in a convent in a town near this, in the hope that time may wear away some of the disgrace she has incurred. Leandra's youth furnished an excuse for her fault, at least with those to whom it was of no consequence whether she was good or bad; but those who knew her shrewdness and intelligence did not attribute her misdemeanour to ignorance but to wantonness and the natural disposition of women, which is for the most part flighty and ill-regulated.

Leandra withdrawn from sight, Anselmo's eyes grew blind, or at any rate found nothing to look at that gave them any pleasure, and mine were in darkness without a ray of light to direct them to anything enjoyable while Leandra was away. Our melancholy grew greater, our patience grew less; we cursed the soldier's finery and railed at the carelessness of Leandra's father. At last Anselmo and I agreed to leave the village and come to this valley; and, he feeding a great flock of sheep of his own, and I a large herd of goats of mine, we pass our life among the trees, giving vent to our sorrows, together singing the fair Leandra's praises, or upbraiding her, or else sighing alone, and to heaven pouring forth our complaints in solitude. Following our example, many more of Leandra's lovers have come to these rude mountains and adopted our mode of life, and they are so numerous that one would fancy the place had been turned into the pastoral Arcadia, so full is it of shepherds and sheep-folds; nor is there a spot in it where the name of the fair Leandra is not heard. Here one curses her and calls her capricious, fickle, and immodest, there another condemns her as frail and frivolous; this pardons and absolves her, that spurns and reviles her; one extols her beauty, another assails her character, and in short all abuse her, and all adore her, and to such a pitch has this general infatuation gone that there are some who complain of her scorn without ever having exchanged a word with her, and even some that bewail and mourn the raging fever of jealousy, for which she never gave anyone cause, for, as I have already said, her misconduct was known before her passion. There is no nook among the rocks, no brookside, no shade beneath the trees that is not haunted by some shepherd telling his woes to the breezes; wherever there is an echo it repeats the name of Leandra; the mountains ring with "Leandra," "Leandra" murmur the brooks, and Leandra keeps us all bewildered and bewitched, hoping without hope and fearing without knowing what we fear. Of all this silly set the one that shows the least and also the most sense is my rival Anselmo, for having so many other things to complain of, he only complains of separation, and to the accompaniment of a rebeck, which he plays admirably, he sings his complaints in verses that show his ingenuity. I follow another, easier, and to my mind wiser course, and that is to rail at the frivolity of women, at their inconstancy, their double dealing, their broken promises, their unkept pledges, and in short the want of reflection they show in fixing their affections and inclinations. This, sirs, was the reason of words and expressions I made use of to this goat when I came up just now; for as she is a female I have a contempt for her, though she is the best in all my fold. This is the story I promised to tell you, and if I have been tedious in telling it, I will not be slow to serve you; my hut is close by, and I have fresh milk and dainty cheese there, as well as a variety of toothsome fruit, no less pleasing to the eye than to the palate.

">

## CHAPTER LII.

### OF THE QUARREL THAT DON QUIXOTE HAD WITH THE GOATHERD, TOGETHER WITH THE RARE ADVENTURE OF THE PENITENTS, WHICH WITH AN EXPENDITURE OF SWEAT HE BROUGHT TO A HAPPY CONCLUSION

The goatherd's tale gave great satisfaction to all the hearers, and the canon especially enjoyed it, for he had remarked with particular attention the manner in which it had been told, which was as unlike the manner of a clownish goatherd as it was like that of a polished city wit; and he observed that the curate had been quite right in saying that the woods bred men of learning. They all offered their services to Eugenio but he who showed himself most liberal in this way was Don Quixote, who said to him, "Most assuredly, brother goatherd, if I found myself in a position to attempt any adventure, I would, this very instant, set out on your behalf, and would rescue Leandra from that convent (where no doubt she is kept against her will), in spite of the abbess and all who might try to prevent me, and would place her in your hands to deal with her according to your will and pleasure, observing, however, the laws of chivalry which lay down that no violence of any kind is to be offered to any damsel. But I trust in God our Lord that the might of one malignant enchanter may not prove so great but that the power of another better disposed may prove superior to it, and then I promise you my support and assistance, as I am bound to do by my profession, which is none other than to give aid to the weak and needy."

The goatherd eyed him, and noticing Don Quixote's sorry appearance and looks, he was filled with wonder, and asked the barber, who was next him, "Senor, who is this man who makes such a figure and talks in such a strain?"

"Who should it be," said the barber, "but the famous Don Quixote of La Mancha, the undoer of injustice, the righter of wrongs, the protector of damsels, the terror of giants, and the winner of battles?"

"That," said the goatherd, "sounds like what one reads in the books of the knights-errant, who did all that you say this man does; though it is my belief that either you are joking, or else this gentleman has empty lodgings in his head."

"You are a great scoundrel," said Don Quixote, "and it is you who are empty and a fool. I am fuller than ever was the whoreson bitch that bore you;" and passing from words to deeds, he caught up a loaf that was near him and sent it full in the goatherd's face, with such force that he flattened his nose; but the goatherd, who did not understand jokes, and found himself roughly handled in such good earnest, paying no respect to carpet, tablecloth, or diners, sprang upon Don Quixote, and seizing him by the throat with both hands would no doubt have throttled him, had not Sancho Panza that instant come to the rescue, and grasping him by the shoulders flung him down on the table, smashing plates, breaking glasses, and upsetting and scattering everything on it. Don Quixote, finding himself free, strove to get on top of the goatherd, who, with his face covered with blood, and soundly kicked by Sancho, was on all fours feeling about for one of the table-knives to take a bloody revenge with. The canon and the curate, however, prevented him, but the barber so contrived it that he got Don Quixote under him, and rained down upon him such a shower of fisticuffs that the poor knight's face streamed with blood as freely as his own. The canon and the curate were bursting with laughter, the officers were capering with delight, and both the one and the other hissed them on as they do dogs that are worrying one another in a fight. Sancho alone was frantic, for he could not free himself from the grasp of one of the canon's servants, who kept him from going to his master's assistance.

At last, while they were all, with the exception of the two bruisers who were mauling each other, in high glee and enjoyment, they heard a trumpet sound a note so doleful that it made them all look in the direction whence the sound seemed to come. But the one that was most excited by hearing it was Don Quixote, who though sorely against his will he was under the goatherd, and something more than pretty well pummelled, said to him, "Brother devil (for it is impossible but that thou must be one since thou hast had might and strength enough to overcome mine), I ask thee to agree to a truce for but one hour for the solemn note of yonder trumpet that falls on our ears seems to me to summon me to some new adventure." The goatherd, who was by this time tired of pummelling and being pummelled, released him at once, and Don Quixote rising to his feet and turning his eyes to the quarter where the sound had been heard, suddenly saw coming down the slope of a hill several men clad in white like penitents.

The fact was that the clouds had that year withheld their moisture from the earth, and in all the villages of the district they were organising processions, rogations, and penances, imploring God to open the hands of his mercy and send the rain; and to this end the people of a village that was hard by were going in procession to a holy hermitage there was on one side of that valley. Don Quixote when he saw the strange garb of the penitents, without reflecting how often he had seen it before, took it into his head that this was a case of adventure, and that it fell to him alone as a knight-errant to engage in it; and he was all the more confirmed in this notion, by the idea that an image draped in black they had with them was some illustrious lady that these villains and discourteous thieves were carrying off by force. As soon as this occurred to him he ran with all speed to Rocinante who was grazing at large, and taking the bridle and the buckler from the saddle-bow, he had him bridled in an instant, and calling to Sancho for his sword he mounted Rocinante, braced his buckler on his arm, and in a loud voice exclaimed to those who stood by, "Now, noble company, ye shall see how important it is that there should be knights in the world professing the of knight-errantry; now, I say, ye shall see, by the deliverance of that worthy lady who is borne captive there, whether knights-errant deserve to be held in estimation," and so saying he brought his legs to bear on Rocinante—for he had no spurs—and at a full canter (for in all this veracious history we never read of Rocinante fairly galloping) set off to encounter the penitents, though the curate, the canon, and the barber ran to prevent him. But it was out of their power, nor did he even stop for the shouts of Sancho calling after him, "Where are you going, Senor Don Quixote? What devils have possessed you to set you on against our Catholic faith? Plague take me! mind, that is a procession of penitents, and the lady they are carrying on that stand there is the blessed image of the immaculate Virgin. Take care what you are doing, senor, for this time it may be safely said you don't know what you are about." Sancho laboured in vain, for his master was so bent on coming to quarters with these sheeted figures and releasing the lady in black that he did not hear a word; and even had he heard, he would not have turned back if the king had ordered him. He came up with the procession and reined in Rocinante, who was already anxious enough to slacken speed a little, and in a hoarse, excited voice he exclaimed, "You who hide your faces, perhaps because you are not good subjects, pay attention and listen to what I am about to say to you." The first to halt were those who were carrying the image, and one of the four ecclesiastics who were chanting the Litany, struck by the strange figure of Don Quixote, the leanness of Rocinante, and the other ludicrous peculiarities he observed, said in reply to him, "Brother, if you have anything to say to us say it quickly, for these brethren are whipping themselves, and we cannot stop, nor is it reasonable we should stop to hear anything, unless indeed it is short enough to be said in two words."

"I will say it in one," replied Don Quixote, "and it is this; that at once, this very instant, ye release that fair lady whose tears and sad aspect show plainly that ye are carrying her off against her will, and that ye have committed some scandalous outrage against her; and I, who was born into the world to redress all such like wrongs, will not permit you to advance another step until you have restored to her the liberty she pines for and deserves."

From these words all the hearers concluded that he must be a madman, and began to laugh heartily, and their laughter acted like gunpowder on Don Quixote's fury, for drawing his sword without another word he made a rush at the stand. One of those who supported it, leaving the burden to his comrades, advanced to meet him, flourishing a forked stick that he had for propping up the stand when resting, and with this he caught a mighty cut Don Quixote made at him that severed it in two; but with the portion that remained in his hand he dealt such a thwack on the shoulder of Don Quixote's sword arm (which the buckler could not protect against the clownish assault) that poor Don Quixote came to the ground in a sad plight.

Sancho Panza, who was coming on close behind puffing and blowing, seeing him fall, cried out to his assailant not to strike him again, for he was poor enchanted knight, who had never harmed anyone all the days of his life; but what checked the clown was, not Sancho's shouting, but seeing that Don Quixote did not stir hand or foot; and so, fancying he had killed him, he hastily hitched up his tunic under his girdle and took to his heels across the country like a deer.

By this time all Don Quixote's companions had come up to where he lay; but the processionists seeing them come running, and with them the officers of the Brotherhood with their crossbows, apprehended mischief, and clustering round the image, raised their hoods, and grasped their scourges, as the priests did their tapers, and awaited the attack, resolved to defend themselves and even to take the offensive against their assailants if they could. Fortune, however, arranged the matter better than they expected, for all Sancho did was to fling himself on his master's body, raising over him the most doleful and laughable lamentation that ever was heard, for he believed he was dead. The curate was known to another curate who walked in the procession, and their recognition of one another set at rest the apprehensions of both parties; the first then told the other in two words who Don Quixote was, and he and the whole troop of penitents went to see if the poor gentleman was dead, and heard Sancho Panza saying, with tears in his eyes, "Oh flower of chivalry, that with one blow of a stick hast ended the course of thy well-spent life! Oh pride of thy race, honour and glory of all La Mancha, nay, of all the world, that for want of thee will be full of evil-doers, no longer in fear of punishment for their misdeeds! Oh thou, generous above all the Alexanders, since for only eight months of service thou hast given me the best island the sea girds or surrounds! Humble with the proud, haughty with the humble, encounterer of dangers, endurer of outrages, enamoured without reason, imitator of the good, scourge of the wicked, enemy of the mean, in short, knight-errant, which is all that can be said!"

At the cries and moans of Sancho, Don Quixote came to himself, and the first word he said was, "He who lives separated from you, sweetest Dulcinea, has greater miseries to endure than these. Aid me, friend Sancho, to mount the enchanted cart, for I am not in a condition to press the saddle of Rocinante, as this shoulder is all knocked to pieces."

"That I will do with all my heart, senor," said Sancho; "and let us return to our village with these gentlemen, who seek your good, and there we will prepare for making another sally, which may turn out more profitable and creditable to us."

"Thou art right, Sancho," returned Don Quixote; "It will be wise to let the malign influence of the stars which now prevails pass off."

The canon, the curate, and the barber told him he would act very wisely in doing as he said; and so, highly amused at Sancho Panza's simplicities, they placed Don Quixote in the cart as before. The procession once more formed itself in order and proceeded on its road; the goatherd took his leave of the party; the officers of the Brotherhood declined to go any farther, and the curate paid them what was due to them; the canon begged the curate to let him know how Don Quixote did, whether he was cured of his madness or still suffered from it, and then begged leave to continue his journey; in short, they all separated and went their ways, leaving to themselves the curate and the barber, Don Quixote, Sancho Panza, and the good Rocinante, who regarded everything with as great resignation as his master. The carter yoked his oxen and made Don Quixote comfortable on a truss of hay, and at his usual deliberate pace took the road the curate directed, and at the end of six days they reached Don Quixote's village, and entered it about the middle of the day, which it so happened was a Sunday, and the people were all in the plaza, through which Don Quixote's cart passed. They all flocked to see what was in the cart, and when they recognised their townsman they were filled with amazement, and a boy ran off to bring the news to his housekeeper and his niece that their master and uncle had come back all lean and yellow and stretched on a truss of hay on an ox-cart. It was piteous to hear the cries the two good ladies raised, how they beat their breasts and poured out fresh maledictions on those accursed books of chivalry; all which was renewed when they saw Don Quixote coming in at the gate.

At the news of Don Quixote's arrival Sancho Panza's wife came running, for she by this time knew that her husband had gone away with him as his squire, and on seeing Sancho, the first thing she asked him was if the ass was well. Sancho replied that he was, better than his master was.

"Thanks be to God," said she, "for being so good to me; but now tell me, my friend, what have you made by your squirings? What gown have you brought me back? What shoes for your children?"

"I bring nothing of that sort, wife," said Sancho; "though I bring other things of more consequence and value."

"I am very glad of that," returned his wife; "show me these things of more value and consequence, my friend; for I want to see them to cheer my heart that has been so sad and heavy all these ages that you have been away."

"I will show them to you at home, wife," said Sancho; "be content for the present; for if it please God that we should again go on our travels in search of adventures, you will soon see me a count, or governor of an island, and that not one of those everyday ones, but the best that is to be had."

"Heaven grant it, husband," said she, "for indeed we have need of it. But tell me, what's this about islands, for I don't understand it?"

"Honey is not for the mouth of the ass," returned Sancho; "all in good time thou shalt see, wife—nay, thou wilt be surprised to hear thyself called 'your ladyship' by all thy vassals."

"What are you talking about, Sancho, with your ladyships, islands, and vassals?" returned Teresa Panza—for so Sancho's wife was called, though they were not relations, for in La Mancha it is customary for wives to take their husbands' surnames.

"Don't be in such a hurry to know all this, Teresa," said Sancho; "it is enough that I am telling you the truth, so shut your mouth. But I may tell you this much by the way, that there is nothing in the world more delightful than to be a person of consideration, squire to a knight-errant, and a seeker of adventures. To be sure most of those one finds do not end as pleasantly as one could wish, for out of a hundred, ninety-nine will turn out cross and contrary. I know it by experience, for out of some I came blanketed, and out of others belaboured. Still, for all that, it is a fine thing to be on the look-out for what may happen, crossing mountains, searching woods, climbing rocks, visiting castles, putting up at inns, all at free quarters, and devil take the maravedi to pay."

While this conversation passed between Sancho Panza and his wife, Don Quixote's housekeeper and niece took him in and undressed him and laid him in his old bed. He eyed them askance, and could not make out where he was. The curate charged his niece to be very careful to make her uncle comfortable and to keep a watch over him lest he should make his escape from them again, telling her what they had been obliged to do to bring him home. On this the pair once more lifted up their voices and renewed their maledictions upon the books of chivalry, and implored heaven to plunge the authors of such lies and nonsense into the midst of the bottomless pit. They were, in short, kept in anxiety and dread lest their uncle and master should give them the slip the moment he found himself somewhat better, and as they feared so it fell out.

But the author of this history, though he has devoted research and industry to the discovery of the deeds achieved by Don Quixote in his third sally, has been unable to obtain any information respecting them, at any rate derived from authentic documents; tradition has merely preserved in the memory of La Mancha the fact that Don Quixote, the third time he sallied forth from his home, betook himself to Saragossa, where he was present at some famous jousts which came off in that city, and that he had adventures there worthy of his valour and high intelligence. Of his end and death he could learn no particulars, nor would he have ascertained it or known of it, if good fortune had not produced an old physician for him who had in his possession a leaden box, which, according to his account, had been discovered among the crumbling foundations of an ancient hermitage that was being rebuilt; in which box were found certain parchment manuscripts in Gothic character, but in Castilian verse, containing many of his achievements, and setting forth the beauty of Dulcinea, the form of Rocinante, the fidelity of Sancho Panza, and the burial of Don Quixote himself, together with sundry epitaphs and eulogies on his life and character; but all that could be read and deciphered were those which the trustworthy author of this new and unparalleled history here presents. And the said author asks of those that shall read it nothing in return for the vast toil which it has cost him in examining and searching the Manchegan archives in order to bring it to light, save that they give him the same credit that people of sense give to the books of chivalry that pervade the world and are so popular; for with this he will consider himself amply paid and fully satisfied, and will be encouraged to seek out and produce other histories, if not as truthful, at least equal in invention and not less entertaining. The first words written on the parchment found in the leaden box were these:

THE ACADEMICIANS OF
ARGAMASILLA, A VILLAGE OF
LA MANCHA,
ON THE LIFE AND DEATH
OF DON QUIXOTE OF LA MANCHA,
HOC SCRIPSERUNT
MONICONGO, ACADEMICIAN OF ARGAMASILLA,

              ON THE TOMB OF DON QUIXOTE

    EPITAPH

    The scatterbrain that gave La Mancha more
      Rich spoils than Jason's; who a point so keen
      Had to his wit, and happier far had been
    If his wit's weathercock a blunter bore;
    The arm renowned far as Gaeta's shore,
      Cathay, and all the lands that lie between;
      The muse discreet and terrible in mien
    As ever wrote on brass in days of yore;
    He who surpassed the Amadises all,
      And who as naught the Galaors accounted,
        Supported by his love and gallantry:
    Who made the Belianises sing small,
      And sought renown on Rocinante mounted;
        Here, underneath this cold stone, doth he lie.

    PANIAGUADO,
    ACADEMICIAN OF ARGAMASILLA,
    IN LAUDEM DULCINEAE DEL TOBOSO

    SONNET

    She, whose full features may be here descried,
      High-bosomed, with a bearing of disdain,
      Is Dulcinea, she for whom in vain
    The great Don Quixote of La Mancha sighed.
    For her, Toboso's queen, from side to side
      He traversed the grim sierra, the champaign
      Of Aranjuez, and Montiel's famous plain:
    On Rocinante oft a weary ride.
    Malignant planets, cruel destiny,
      Pursued them both, the fair Manchegan dame,
    And the unconquered star of chivalry.
      Nor youth nor beauty saved her from the claim
    Of death; he paid love's bitter penalty,
      And left the marble to preserve his name.

    CAPRICHOSO, A MOST ACUTE ACADEMICIAN
    OF ARGAMASILLA, IN PRAISE OF ROCINANTE,
    STEED OF DON QUIXOTE OF LA MANCHA

    SONNET

    On that proud throne of diamantine sheen,
      Which the blood-reeking feet of Mars degrade,
    The mad Manchegan's banner now hath been
      By him in all its bravery displayed.
      There hath he hung his arms and trenchant blade
    Wherewith, achieving deeds till now unseen,
      He slays, lays low, cleaves, hews; but art hath made
    A novel style for our new paladin.
    If Amadis be the proud boast of Gaul,
      If by his progeny the fame of Greece
        Through all the regions of the earth be spread,
    Great Quixote crowned in grim Bellona's hall
      To-day exalts La Mancha over these,
        And above Greece or Gaul she holds her head.
    Nor ends his glory here, for his good steed
    Doth Brillador and Bayard far exceed;
    As mettled steeds compared with Rocinante,
    The reputation they have won is scanty.

    BURLADOR, ACADEMICIAN OF ARGAMASILLA,
    ON SANCHO PANZA

    SONNET

      The worthy Sancho Panza here you see;
        A great soul once was in that body small,
        Nor was there squire upon this earthly ball
    So plain and simple, or of guile so free.
    Within an ace of being Count was he,
        And would have been but for the spite and gall
        Of this vile age, mean and illiberal,
    That cannot even let a donkey be.
    For mounted on an ass (excuse the word),
        By Rocinante's side this gentle squire
          Was wont his wandering master to attend.
    Delusive hopes that lure the common herd
        With promises of ease, the heart's desire,
          In shadows, dreams, and smoke ye always end.

    CACHIDIABLO,
    ACADEMICIAN OF ARGAMASILLA,
    ON THE TOMB OF DON QUIXOTE
    EPITAPH

    The knight lies here below,
      Ill-errant and bruised sore,
      Whom Rocinante bore
    In his wanderings to and fro.
    By the side of the knight is laid
      Stolid man Sancho too,
      Than whom a squire more true
    Was not in the esquire trade.

                TIQUITOC,
       ACADEMICIAN OF ARGAMASILLA,
    ON THE TOMB OF DULCINEA DEL TOBOSO

               EPITAPH
    Here Dulcinea lies.
      Plump was she and robust:
      Now she is ashes and dust:
    The end of all flesh that dies.
    A lady of high degree,
      With the port of a lofty dame,
      And the great Don Quixote's flame,
    And the pride of her village was she.

These were all the verses that could be deciphered; the rest, the writing being worm-eaten, were handed over to one of the Academicians to make out their meaning conjecturally. We have been informed that at the cost of many sleepless nights and much toil he has succeeded, and that he means to publish them in hopes of Don Quixote's third sally.

"Forse altro cantera con miglior plectro."

    End of the Project Gutenberg EBook of The History of Don Quixote, Vol. I.,
    Part 18., by Miguel de Cervantes

    *** END OF THIS PROJECT GUTENBERG EBOOK DON QUIXOTE, PART 18 ***

    ***** This file should be named 5920-h.htm or 5920-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.net/5/9/2/5920/

    Produced by David Widger

    Updated editions will replace the previous one--the old editions
    will be renamed.

    Creating the works from public domain print editions means that no
    one owns a United States copyright in these works, so the Foundation
    (and you!) can copy and distribute it in the United States without
    permission and without paying copyright royalties.  Special rules,
    set forth in the General Terms of Use part of this license, apply to
    copying and distributing Project Gutenberg-tm electronic works to
    protect the PROJECT GUTENBERG-tm concept and trademark.  Project
    Gutenberg is a registered trademark, and may not be used if you
    charge for the eBooks, unless you receive specific permission.  If you
    do not charge anything for copies of this eBook, complying with the
    rules is very easy.  You may use this eBook for nearly any purpose
    such as creation of derivative works, reports, performances and
    research.  They may be modified and printed and given away--you may do
    practically ANYTHING with public domain eBooks.  Redistribution is
    subject to the trademark license, especially commercial
    redistribution.

    *** START: FULL LICENSE ***

    THE FULL PROJECT GUTENBERG LICENSE
    PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

    To protect the Project Gutenberg-tm mission of promoting the free
    distribution of electronic works, by using or distributing this work
    (or any other work associated in any way with the phrase "Project
    Gutenberg"), you agree to comply with all the terms of the Full Project
    Gutenberg-tm License (available with this file or online at
    http://gutenberg.net/license).

    Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
    electronic works

    1.A.  By reading or using any part of this Project Gutenberg-tm
    electronic work, you indicate that you have read, understand, agree to
    and accept all the terms of this license and intellectual property
    (trademark/copyright) agreement.  If you do not agree to abide by all
    the terms of this agreement, you must cease using and return or destroy
    all copies of Project Gutenberg-tm electronic works in your possession.
    If you paid a fee for obtaining a copy of or access to a Project
    Gutenberg-tm electronic work and you do not agree to be bound by the
    terms of this agreement, you may obtain a refund from the person or
    entity to whom you paid the fee as set forth in paragraph 1.E.8.

    1.B.  "Project Gutenberg" is a registered trademark.  It may only be
    used on or associated in any way with an electronic work by people who
    agree to be bound by the terms of this agreement.  There are a few
    things that you can do with most Project Gutenberg-tm electronic works
    even without complying with the full terms of this agreement.  See
    paragraph 1.C below.  There are a lot of things you can do with Project
    Gutenberg-tm electronic works if you follow the terms of this agreement
    and help preserve free future access to Project Gutenberg-tm electronic
    works.  See paragraph 1.E below.

    1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
    or PGLAF), owns a compilation copyright in the collection of Project
    Gutenberg-tm electronic works.  Nearly all the individual works in the
    collection are in the public domain in the United States.  If an
    individual work is in the public domain in the United States and you are
    located in the United States, we do not claim a right to prevent you from
    copying, distributing, performing, displaying or creating derivative
    works based on the work as long as all references to Project Gutenberg
    are removed.  Of course, we hope that you will support the Project
    Gutenberg-tm mission of promoting free access to electronic works by
    freely sharing Project Gutenberg-tm works in compliance with the terms of
    this agreement for keeping the Project Gutenberg-tm name associated with
    the work.  You can easily comply with the terms of this agreement by
    keeping this work in the same format with its attached full Project
    Gutenberg-tm License when you share it without charge with others.

    1.D.  The copyright laws of the place where you are located also govern
    what you can do with this work.  Copyright laws in most countries are in
    a constant state of change.  If you are outside the United States, check
    the laws of your country in addition to the terms of this agreement
    before downloading, copying, displaying, performing, distributing or
    creating derivative works based on this work or any other Project
    Gutenberg-tm work.  The Foundation makes no representations concerning
    the copyright status of any work in any country outside the United
    States.

    1.E.  Unless you have removed all references to Project Gutenberg:

    1.E.1.  The following sentence, with active links to, or other immediate
    access to, the full Project Gutenberg-tm License must appear prominently
    whenever any copy of a Project Gutenberg-tm work (any work on which the
    phrase "Project Gutenberg" appears, or with which the phrase "Project
    Gutenberg" is associated) is accessed, displayed, performed, viewed,
    copied or distributed:

    This eBook is for the use of anyone anywhere at no cost and with
    almost no restrictions whatsoever.  You may copy it, give it away or
    re-use it under the terms of the Project Gutenberg License included
    with this eBook or online at www.gutenberg.net

    1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
    from the public domain (does not contain a notice indicating that it is
    posted with permission of the copyright holder), the work can be copied
    and distributed to anyone in the United States without paying any fees
    or charges.  If you are redistributing or providing access to a work
    with the phrase "Project Gutenberg" associated with or appearing on the
    work, you must comply either with the requirements of paragraphs 1.E.1
    through 1.E.7 or obtain permission for the use of the work and the
    Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
    1.E.9.

    1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
    with the permission of the copyright holder, your use and distribution
    must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
    terms imposed by the copyright holder.  Additional terms will be linked
    to the Project Gutenberg-tm License for all works posted with the
    permission of the copyright holder found at the beginning of this work.

    1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
    License terms from this work, or any files containing a part of this
    work or any other work associated with Project Gutenberg-tm.

    1.E.5.  Do not copy, display, perform, distribute or redistribute this
    electronic work, or any part of this electronic work, without
    prominently displaying the sentence set forth in paragraph 1.E.1 with
    active links or immediate access to the full terms of the Project
    Gutenberg-tm License.

    1.E.6.  You may convert to and distribute this work in any binary,
    compressed, marked up, nonproprietary or proprietary form, including any
    word processing or hypertext form.  However, if you provide access to or
    distribute copies of a Project Gutenberg-tm work in a format other than
    "Plain Vanilla ASCII" or other format used in the official version
    posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
    you must, at no additional cost, fee or expense to the user, provide a
    copy, a means of exporting a copy, or a means of obtaining a copy upon
    request, of the work in its original "Plain Vanilla ASCII" or other
    form.  Any alternate format must include the full Project Gutenberg-tm
    License as specified in paragraph 1.E.1.

    1.E.7.  Do not charge a fee for access to, viewing, displaying,
    performing, copying or distributing any Project Gutenberg-tm works
    unless you comply with paragraph 1.E.8 or 1.E.9.

    1.E.8.  You may charge a reasonable fee for copies of or providing
    access to or distributing Project Gutenberg-tm electronic works provided
    that

    - You pay a royalty fee of 20% of the gross profits you derive from
         the use of Project Gutenberg-tm works calculated using the method
         you already use to calculate your applicable taxes.  The fee is
         owed to the owner of the Project Gutenberg-tm trademark, but he
         has agreed to donate royalties under this paragraph to the
         Project Gutenberg Literary Archive Foundation.  Royalty payments
         must be paid within 60 days following each date on which you
         prepare (or are legally required to prepare) your periodic tax
         returns.  Royalty payments should be clearly marked as such and
         sent to the Project Gutenberg Literary Archive Foundation at the
         address specified in Section 4, "Information about donations to
         the Project Gutenberg Literary Archive Foundation."

    - You provide a full refund of any money paid by a user who notifies
         you in writing (or by e-mail) within 30 days of receipt that s/he
         does not agree to the terms of the full Project Gutenberg-tm
         License.  You must require such a user to return or
         destroy all copies of the works possessed in a physical medium
         and discontinue all use of and all access to other copies of
         Project Gutenberg-tm works.

    - You provide, in accordance with paragraph 1.F.3, a full refund of any
         money paid for a work or a replacement copy, if a defect in the
         electronic work is discovered and reported to you within 90 days
         of receipt of the work.

    - You comply with all other terms of this agreement for free
         distribution of Project Gutenberg-tm works.

    1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
    electronic work or group of works on different terms than are set
    forth in this agreement, you must obtain permission in writing from
    both the Project Gutenberg Literary Archive Foundation and Michael
    Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
    Foundation as set forth in Section 3 below.

    1.F.

    1.F.1.  Project Gutenberg volunteers and employees expend considerable
    effort to identify, do copyright research on, transcribe and proofread
    public domain works in creating the Project Gutenberg-tm
    collection.  Despite these efforts, Project Gutenberg-tm electronic
    works, and the medium on which they may be stored, may contain
    "Defects," such as, but not limited to, incomplete, inaccurate or
    corrupt data, transcription errors, a copyright or other intellectual
    property infringement, a defective or damaged disk or other medium, a
    computer virus, or computer codes that damage or cannot be read by
    your equipment.

    1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
    of Replacement or Refund" described in paragraph 1.F.3, the Project
    Gutenberg Literary Archive Foundation, the owner of the Project
    Gutenberg-tm trademark, and any other party distributing a Project
    Gutenberg-tm electronic work under this agreement, disclaim all
    liability to you for damages, costs and expenses, including legal
    fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
    LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
    PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
    TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
    LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
    INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
    DAMAGE.

    1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
    defect in this electronic work within 90 days of receiving it, you can
    receive a refund of the money (if any) you paid for it by sending a
    written explanation to the person you received the work from.  If you
    received the work on a physical medium, you must return the medium with
    your written explanation.  The person or entity that provided you with
    the defective work may elect to provide a replacement copy in lieu of a
    refund.  If you received the work electronically, the person or entity
    providing it to you may choose to give you a second opportunity to
    receive the work electronically in lieu of a refund.  If the second copy
    is also defective, you may demand a refund in writing without further
    opportunities to fix the problem.

    1.F.4.  Except for the limited right of replacement or refund set forth
    in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
    WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
    WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.

    1.F.5.  Some states do not allow disclaimers of certain implied
    warranties or the exclusion or limitation of certain types of damages.
    If any disclaimer or limitation set forth in this agreement violates the
    law of the state applicable to this agreement, the agreement shall be
    interpreted to make the maximum disclaimer or limitation permitted by
    the applicable state law.  The invalidity or unenforceability of any
    provision of this agreement shall not void the remaining provisions.

    1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
    trademark owner, any agent or employee of the Foundation, anyone
    providing copies of Project Gutenberg-tm electronic works in accordance
    with this agreement, and any volunteers associated with the production,
    promotion and distribution of Project Gutenberg-tm electronic works,
    harmless from all liability, costs and expenses, including legal fees,
    that arise directly or indirectly from any of the following which you do
    or cause to occur: (a) distribution of this or any Project Gutenberg-tm
    work, (b) alteration, modification, or additions or deletions to any
    Project Gutenberg-tm work, and (c) any Defect you cause.

    Section  2.  Information about the Mission of Project Gutenberg-tm

    Project Gutenberg-tm is synonymous with the free distribution of
    electronic works in formats readable by the widest variety of computers
    including obsolete, old, middle-aged and new computers.  It exists
    because of the efforts of hundreds of volunteers and donations from
    people in all walks of life.

    Volunteers and financial support to provide volunteers with the
    assistance they need, is critical to reaching Project Gutenberg-tm's
    goals and ensuring that the Project Gutenberg-tm collection will
    remain freely available for generations to come.  In 2001, the Project
    Gutenberg Literary Archive Foundation was created to provide a secure
    and permanent future for Project Gutenberg-tm and future generations.
    To learn more about the Project Gutenberg Literary Archive Foundation
    and how your efforts and donations can help, see Sections 3 and 4
    and the Foundation web page at http://www.pglaf.org.

    Section 3.  Information about the Project Gutenberg Literary Archive
    Foundation

    The Project Gutenberg Literary Archive Foundation is a non profit
    501(c)(3) educational corporation organized under the laws of the
    state of Mississippi and granted tax exempt status by the Internal
    Revenue Service.  The Foundation's EIN or federal tax identification
    number is 64-6221541.  Its 501(c)(3) letter is posted at
    http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
    Literary Archive Foundation are tax deductible to the full extent
    permitted by U.S. federal laws and your state's laws.

    The Foundation's principal office is located at 4557 Melan Dr. S.
    Fairbanks, AK, 99712., but its volunteers and employees are scattered
    throughout numerous locations.  Its business office is located at
    809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
    business@pglaf.org.  Email contact links and up to date contact
    information can be found at the Foundation's web site and official
    page at http://pglaf.org

    For additional contact information:
         Dr. Gregory B. Newby
         Chief Executive and Director
         gbnewby@pglaf.org

    Section 4.  Information about Donations to the Project Gutenberg
    Literary Archive Foundation

    Project Gutenberg-tm depends upon and cannot survive without wide
    spread public support and donations to carry out its mission of
    increasing the number of public domain and licensed works that can be
    freely distributed in machine readable form accessible by the widest
    array of equipment including outdated equipment.  Many small donations
    ($1 to $5,000) are particularly important to maintaining tax exempt
    status with the IRS.

    The Foundation is committed to complying with the laws regulating
    charities and charitable donations in all 50 states of the United
    States.  Compliance requirements are not uniform and it takes a
    considerable effort, much paperwork and many fees to meet and keep up
    with these requirements.  We do not solicit donations in locations
    where we have not received written confirmation of compliance.  To
    SEND DONATIONS or determine the status of compliance for any
    particular state visit http://pglaf.org

    While we cannot and do not solicit contributions from states where we
    have not met the solicitation requirements, we know of no prohibition
    against accepting unsolicited donations from donors in such states who
    approach us with offers to donate.

    International donations are gratefully accepted, but we cannot make
    any statements concerning tax treatment of donations received from
    outside the United States.  U.S. laws alone swamp our small staff.

    Please check the Project Gutenberg Web pages for current donation
    methods and addresses.  Donations are accepted in a number of other
    ways including including checks, online payments and credit card
    donations.  To donate, please visit: http://pglaf.org/donate

    Section 5.  General Information About Project Gutenberg-tm electronic
    works.

    Professor Michael S. Hart is the originator of the Project Gutenberg-tm
    concept of a library of electronic works that could be freely shared
    with anyone.  For thirty years, he produced and distributed Project
    Gutenberg-tm eBooks with only a loose network of volunteer support.

    Project Gutenberg-tm eBooks are often created from several printed
    editions, all of which are confirmed as Public Domain in the U.S.
    unless a copyright notice is included.  Thus, we do not necessarily
    keep eBooks in compliance with any particular paper edition.

    Most people start at our Web site which has the main PG search facility:

         http://www.gutenberg.net

    This Web site includes information about Project Gutenberg-tm,
    including how to make donations to the Project Gutenberg Literary
    Archive Foundation, how to help produce our new eBooks, and how to
    subscribe to our email newsletter to hear about new eBooks.