The proximity of Esquivias to Madrid, enabled him to make frequent visits to the capital. There he formed acquaintance with most of the distinguished Spanish writers of the day, and he became a member of one of those numerous literary academies which in the reign of Charles V. were established in Spain in imitation of those of Italy. About this time Cervantes began to apply himself zealously to dramatic composition. The taste for theatrical amusements, then so popular in Spain, rendered play writing a ready mode of turning literary talent to profitable account. But there is reason to infer that inclination no less than the prospect of pecuniary gain, prompted Cervantes to write for the stage; and the complacency with which, at a subsequent period of his life, he looked back to his early comedies proves that he thought himself entitled to no little distinction as a dramatic author. That he should so far have mistaken the true bent of his genius, is one of those unaccountable fallacies of judgment, from which even the shrewdest minds are not always exempt. Those of his plays which in the opinion of Cervantes himself possessed peculiar merit, are of that class which was so popular among the Spaniards of the sixteenth century, and called Comedias de capa y espada.[31] In his Viaje del Parnaso, alluding to these plays, the author says—“If they were not my own I should declare that they merit all the praise they have obtained.” One of them, la Confusa, he declares to be “a good one among the best.”[32] La Confusa is one of the many dramatic works of Cervantes, which there is reason to fear are totally lost.
Bouterwek, whilst admitting the general failure of Cervantes as a writer for the stage, nevertheless declares that the high merits of the tragedy of Numancia might well pardon the self-deception under which the author laboured in respect to the limits of his talent in dramatic literature. “With all its imperfections,” observes the celebrated German critic, “the tragedy of Numancia is a noble production, and, like Don Quixote, it is unparalleled in the class of literature to which it belongs. It proves that under different circumstances the author of Don Quixote might have been the Æschylus of Spain. The conception is stamped by the deepest pathos and the execution, at least taken as a whole, is vigorous and dignified.”[33] The tragedy of Numancia and the comedy of El Trato de Argel (life in Algiers), were accidentally discovered in manuscript about the end of the last century; after having been supposed to be irretrievably lost.
During the interval of his alternate residence in Esquivias and Madrid, it is computed that Cervantes must have written between twenty and thirty dramatic pieces. Among those successfully performed at the theatres of Madrid were Los Tratos de Argel, La Numancia and La Batalla naval. In these pieces the author ventured to depart from the forms of the old Spanish drama; and these changes, together with other innovations he introduced, were very favourably received by the public.
But in spite of this partial success, the scanty emolument he acquired by writing for the stage, was inadequate to the maintenance of his family; the more especially as his two sisters were wholly dependent on him for support; for his brother Rodrigo, who was still in the army, was engaged in the wars in Flanders. At this time the position of Cervantes was peculiarly unfortunate and discouraging. He was now upwards of forty years of age and deprived of the use of one arm; and neither his military services nor his literary labours had obtained for him any adequate reward. These considerations determined him to enter upon some other career of occupation less precarious than that which he had pursued since his retirement from the army; and he thought himself exceedingly lucky when an opportunity occurred, which enabled him to escape from the literary drudgery to which he had for some years been doomed. To quote his own words, he joyfully “laid aside the pen and relinquished play writing.” (Abandonó la pluma y las Comedias.)
Antonio de Guevara had just then been appointed Commissary-General, (Proveedor-General), for provisioning the Spanish armadas fitted out for South America. This post was one of considerable importance, and its extensive and various duties required the aid of four assistant commissaries. Through the influence of Guevara, Cervantes was appointed to one of the last-mentioned posts, and in April, 1589, he removed to Seville to enter upon the duties of his office.
It is probable that this change of residence was not less agreeable to him than the change of his occupation; for several members of the respective families of Cervantes and Saavedra were settled in Seville, then the most populous and opulent city in Spain. It is a fact worthy of mention, that two of these relatives of Cervantes were distinguished for their literary talent. The author of Don Quixote himself renders an eulogistic tribute to Gonzalo Cervantes de Saavedra, a famous soldier and poet;[34] and Nicholas Antonio mentions another Cervantes de Saavedra, who distinguished himself as a writer. Both were Sevillians.
The subordinate post of assistant-commissary in Seville would appear to have been accepted by Cervantes, only as the stepping-stone to something better; and he probably counted on advancement through the patronage of Guevara, and the influence of his own relatives, who were persons of some consideration in Seville. Accordingly, we find him, in May, 1590, petitioning the king for one of several posts then vacant in South America. The petitioner, without venturing to express a preference for any particular appointment, declares he shall be satisfied with any one of which he may be considered worthy; his only desire being to serve his king, as he had in the earlier years of his life, and as his ancestors had before him. That Cervantes, at this time, found no great cause to rejoice in the prosperity of his worldly affairs, is obvious in the whole tone of the petition, which he concludes with the declaration of his readiness to “embrace the course of which many unfortunate men in that city (Seville) have availed themselves; namely, to proceed to South America, that last refuge and asylum of despairing Spaniards.”[35] The application for the South American appointment not having been attended with success, he continued in his post at Seville.
In the year 1595 Pope Clement VIII. canonized St. Hyacinthus, in compliance with the solicitation of the King of Poland. The event was celebrated with great solemnity by the Monks of the Dominican convent in Saragossa, and certain poetical prize competitions were proposed on the occasion. The subjects for these competitions having been determined, they were published in all the principal towns of Spain. Cervantes was a successful candidate for one of these prizes, which, from its nature, might have been a more fitting reward for domestic merit than for poetic talent: it consisted of three silver spoons. The umpires, in awarding this prize, styled the winner a son of Seville, which circumstance, together with the long residence of Cervantes in that city, may explain how it came to be regarded as his native place.
Other events occasionally called forth poetic tributes from the author of Don Quixote during his abode in Seville. In the year 1596, the Earl of Essex made a descent on the Spanish coast, took possession of Cádiz and sacked the city. The gentlemen of Seville formed themselves into a sort of Urban guard and marched to the assistance of the neighbouring city. Whether Cervantes enrolled himself in these martial ranks does not appear; but the event inspired his muse with several poetic effusions, one of which is a sonnet preserved in manuscript in the Real Biblioteca at Madrid. This expedition of the English to Cádiz furnished the subject of La Española Inglesa, one of the Novelas which were written at a subsequent period. On the death of Philip II., in 1598, Cervantes was still in Seville, and he composed a sonnet on the occasion which he himself mentions favourably in the Viaje del Parnaso.