[62]For the sake of the curious we append a translation of the registry of Cervantes's liberation, as found by Los Rios in the archives of the order of mercy, and quoted by him in his "Proofs of the Life." These documents consist of two registers; one of the receipt of money for his redemption given by the friars Juan Gil, procurer-general for the order of the most Holy Trinity and Antonio de la Vella, minister of the monastery of the said order in the city of Baeza; and the second testified the payment of the money in Algiers. The first runs thus:—
"In the said city of Madrid, on the 31st of July, of the year 1579, in the presence of me, the notary, and the underwritten witnesses, the said fathers, friar Juan Gil and friar Antonio de la Vella, received 300 ducats, at eleven rials each ducat, being 230 ducats, from the hand of donna Leonora de Cortinas, widow, formerly wife of Rodrigo de Cervantes, and fifty ducats from donna Andrea de Cervantes, inhabitants of Alcalà, now in this court (this expression is always used to signify Madrid), to contribute to the ransom of Miguel de Cervantes, an inhabitant of the said city, son and brother of the above named, who is captive at Algiers in the power of Ali Mami, captain of the vessels of the fleet of the king of Algiers, who is thirty-three years of age, has lost his left hand; and from them they received two obligations and receipts, and received the said sum before me, the notary, being witnesses, Juan de Quadros and Juan de la Peña Corredor, and Juan Fernandez, residing in this court: in faith of which the said witnesses, friars, and I, the said notary, sign our names."
The second register is as follows:—
"In the city of Algiers, on the 19th of September, 1580, in presence of me, the said notary, the rev. father friar Juan Gil, the above named redeemer, ransomed Miguel de Cervantes, a native of Alcalà de Henares, aged thirty-three, son of Rodrigo de Cervantes and of donna Leonora de Cortinas, and an inhabitant of Madrid; of a middle size, much beard, maimed of the left arm and hand, taken captive in the galley el Sol, bound from Naples to Spain, where he had been a long time in the service of H. M. He was taken 26th September, 1575, being in the power of Hassan Pacha, king: his ransom cost 500 crowns of gold in Spanish gold; because, if not, he was to be sent to Constantinople; and, therefore, on account of this necessity, and that this Christian should not be lost in a Moorish country, 220 crowns were raised among the traders and the remaining 250 collected from the charities of the redemption. Three hundred ducats were given in aid; and they were assisted by the charity of Francisco de Caramanchel, of whom is the patron the very illustrious Señor Domingo de Cardenas Zapata, of the council of H. M., with fifty doubloons, and by the general charity of the order they were assisted by fifty more; and the remainder of the sum, the said order engaged to repay, being money belonging to other captives, who gave pledges in Spain for their ransom; and, net being at present in Algiers, they are not ransomed; and the said order are under obligation to return the money to the parties, the captives not being ransomed; and besides were given nine doubloons to the officers of the galley of the said king Hassan Pacha, who asked it as their fees: in faith of which sign their names, &c."
[63]It is usually said, and Viardôt repeats it, that Cervantes was driven from his theatrical labours by the success of Lope de Vega. This is not the fact. Lope sailed with the Invincible Armada, and it was not until his return that he began his dramatic career. The fact seems simply to have been that Cervantes, feeling the animation of genius within him, yet not having discovered its proper expression, was, to a certain degree, successful as a dramatist, though he could not originate a style which should give new life to the modern drama: thus his gains were moderate, and he found himself unable to support those dependant on him. The place of commissary offered itself to rescue him from this state of poverty. Afterwards, when Lope began his career, Cervantes found indeed, that, he filled the public eye, and had hit its taste; and that his dramas, with their jéjune plots and uninterwoven incidents, however, adorned by poetry and the majesty of passion, were thrown aside and forgotten.
[64]This monument excited attention in the capital—Lope de Vega in his comedy of "La Esclava de su Galan," "The slave of her Lover" makes a lady living in great retirement in this country, say, "I visited Seville but twice: once to see the king, whom heaven guard! and a second time to see the wondrous edifice of the monument; so that I was only to be tempted out by the grandest objects which heaven or earth contains."
"AL TUMULO DEL REY EN SEVILLA.
'Voto á Dios que me espanta esta grandeza,
y que diera un doblon por describilla,
porque ¿ á quien no suspende y maravilla
esta maquina insigne, esta braveza?
Por Jesu Christo vivo, cada pieza
vale mas que un millon, que es mancilla
que esto no duré un siglo.—O gran Sevilla;
Roma triunfante en animo y riqueza.
Apostare que el anima del muerto,
por gozar esto sitio, hoy ha dexado
el Cielo de que goza eternamente!'
Esto oyo un valenton, y dixo: 'Es cierto
lo que dice voace, seor soldado,
y quien dixere lo contrario miente.'
Y luego en continente
caló el chapeo, requirio la espada,
miro al soslayo, fuese, y no hubo nada."
[66]Los Rios—Pruebas de la Vida.