548 Appendices. 



Auristela ; p. 645, prophesy concerning the banishment of the 

 moriscos; p. 656, col. 2, Soldino foretells events; p. 669, col. 1, the 

 painting of "personajes ilustres que estaban \Hn- vcuir"; cf. also 

 article II, p. 26, for further exanii)l('s in the Fersiles. 



13. Finally the use of the word fortuna, the spirit of which was 

 explained in article II, p. 27 as dominating the career of the chief 

 personages of a romance of adventure, ninst be considered. Though 

 it was used frequently in Heliodorus, it is even more common in 

 Virgil and thus helps to lend the Aeneid an atmosphere which 

 differs little in its features of adventure, at least, from the 

 Theagenes and Charihlea and the Persiles. Eneida, Vol. I, p. 42: 

 "que por trabajos varios y tormentos | De igual fortuna he sido 

 yo arrojada ;" p. 55 : "Yo triste, a quien fortuna ha asi abatido" ; 

 p. 74: '^Siendo fortuna al buen principio pia," and "vamos por 

 do muestra | Camino de salud fortuna diestra" ; p. 89 : "que 

 contento | Podia Fortuna darme que bastase ?" ; p. 92 : "O bajo, 

 o alto la Fortuna ruede | ]^unca de ti jamas podra apartarme." 

 Dozens of examples could be added. Fortuna in the sense of storm 

 also occurs, p. 37 : "al mar volvamos Siciliano | De do nos arrojo 

 fortuna insana." 



In the Persiles Fortuna with her wheel is personified on p. 567, 

 col. 1, and p. 629, col. 1 ; other examples of a common usage 

 are, p. 576, col. 1 : "la nuestra hasta hoy contraria fortuna ; p. 

 577, col. 1 : "si ... la fortuna no me desf avorece" ; p. 582, 

 col. 1: "para que viese si la fortuna te habia llevado a su poder"; 

 p. 594, col. 1 : "el punto en que le ha levantado la fortuna" ; cf . 

 also, p. 585, col. 2 : "miserables son y temerosas las fortunas del 

 mar." The use of the word is very common in the rest of Cer- 

 vantes's works as well as in Spanish literature before his time. 

 One is therefore led to the conclusion that fortuna is probably 

 an inheritance from those classics which became known during the 

 Renaissance, for it is especially common from the end of the 

 fifteenth century on. 



Virgil's Fama (bk. IV), Eneida, Vol. I, p. 150 ff., with many 

 tongues, is mentioned in the Persiles, p. 618, col. 2 : "los verdaderos 

 . . . amantes en quien la fama ocupa sus lenguas." On p. 

 606, col. 2, the figure of Diligencia which "antes pareciera Fama" 

 is described as having alas all over her body. Virgil distinctly 

 says plumae, but the Spanish Eneida, Vol. I, p. 151, has "quantas 

 plumas tiene en cuerpo y alas, and Cervantes may have recalled 

 only the latter. 



