Don Quixote de la Mancha Miguel de Cervantes
Novel published in 1605 (Part I) and 1615 (Part II).
The following entry presents criticism of Cervantes's novel Don Quixote.
Don Quixote de la Mancha is considered one of the masterpieces of world literature. The novel narrates the travels of an insane old man who, believing he is a knight-errant, leaves his village of La Mancha and searches for adventure on the highways and in the villages of seventeenth-century imperial Spain. While the two parts of the novel, published in 1605 and 1615, can be read as a unified whole, they differ considerably in style and approach. The first part is considered by many critics to be a straightforward parody of chivalric romances, while the second part is a more ambitious, self-referential work that involves the reader in an examination of the nature of literature itself. Both parts of the work are rich in humor, social and political commentary, and psychological insight. Some of the major themes that Don Quixote explores are love, imagination, morality, societal norms, class, honor, and the relationship between art and nature. Since its publication, Cervantes's novel has inspired the work of the world's great writers, artists, and composers, including Jorge Luis Borges, William Faulkner, Fyodor Dostoevsky, Pablo Picasso, Salvador Dalí, Henry Purcell, Friedrich Mendelssohn, and Richard Strauss. It remains as popular today as when it first appeared and is admired for its depth and complexity as well as for its appeal as a supremely entertaining story.
Cervantes was born in Alcalá de Henares, a small town near Madrid, in 1547. His father was an itinerant surgeon whose work took his family all over Spain. Despite moving about a great deal, Cervantes received some early formal education in the school of the Spanish humanist Juan Lopez de Hoyos, who taught in Madrid in the 1560s. In 1569, Cervantes traveled to Italy to serve in the household of an Italian nobleman. A year later, he joined the Spanish army. After seeing active duty in Italy and being imprisoned in Algiers for five years, he returned to Spain in 1580. In 1584, when he was thirty-seven, he married a woman twenty years his junior and shortly thereafter obtained a position as a government official in the south of Spain. In 1585, he published his first prose work, La Galatea, a pastoral romance. He then began writing for the theater and composing short stories. By the time the first part of Don Quixote appeared in 1605, Cervantes was a well-known author. The novel was an immediate success, going through six editions in its first year of publication. The work was translated into English and French, bringing Cervantes international recognition. In the years that followed, he published a collection of short stories, a satiric poem, some of his theatrical works, and the second part of Don Quixote. His final prose work, The Travails of Persiles and Sigismunda, a Byzantine romance, was completed shortly before he died in 1616.
Plot and Major Characters
Don Quixote tells the story of Alonso Quejana, a Spanish country gentleman who is obsessed by books of chivalry. He spends all his time reading these tales of knights, squires, magicians, and damsels until he goes mad. He convinces himself he is a knight, finds himself a steed (an old nag he calls “Rocinante”), and dubs himself Don Quixote de la Mancha. He also chooses a lady, a country girl named Aldonza Lorenzo who is famed for her skill at salting pork, and gives her the title of Dulcinea del Toboso. He then sets out on his adventures, dreaming of fame and glory. He soon manages to convince a shrewd but illiterate peasant farmer, Sancho Panza, into accompanying him as his squire in return for the promise of a governorship of an island after their brave exploits are over. This story is told in two parts. The first part of the work is a more straightforward narrative that parodies tales of chivalry and romance, as Don Quixote sets out with his squire on a life of glory and chivalric adventures, determined to defend the helpless and destroy the wicked. After his exploits, he is brought home by two of the men from his village who hope to cure him of his madness. The second part of the novel is more complex, as the don learns about the book that has been written about him and his deeds. He and Sancho set out again on a series of adventures, but many of these encounters are staged by characters who know of the pair's previous adventures, and the lines between fiction and reality become increasingly blurred. Once again after his adventures Don Quixote returns home, but his time he renounces the tales of chivalry and is cured of his madness.
The main concern of the first part of Don Quixote is to parody the popular idea of chivalry and romance. Cervantes points out the often comical relationships between chivalry and everyday life, and Don Quixote in his madness serves to illustrate how misguided indeed these romantic notions are. His encounters with other characters also satirize the society in which these characters exist and comment on the codes of behavior reflected by their actions. The character of Don Quixote also reinforces the idea that the old system of morality, the chivalric code, is in disrepair, as nobody except Sancho Panza understands him or his values. Although love is sometimes celebrated in the novel, Don Quixote's devotion to Dulcinea mocks romantic ideals, as the object of his adulation is a woman he has never even seen. A related theme to that of chivalry, and one that was not much written about in Cervantes's day, is that of equating social class with personal worth. Cervantes attacks the conventional idea that aristocrats are respectable and noble. In the second part of the novel, for example, he contrasts the Duke and Duchess's malice with Sancho's compassion, showing the peasant to be wise despite his low social status. Similarly, goatherds and shepherds in the novel exhibit a philosophical cast of mind while aristocratic characters are often intellectually shallow. Among the many recurring symbols in Don Quixote are those that take the form of books and manuscripts. These underscore the importance and influence of literature in everyday life. They also point to the larger theme of the relationship between art and reality. In the second part of the novel, for example, the question of authorship and storytelling is a preoccupation of the characters as well as the narrator. This idea is especially associated with Don Quixote's madness.
Don Quixote was an instant success when it was first published in Spanish, and Cervantes achieved international fame after the novel was translated into English and French in 1606. The work remained popular throughout Europe in the seventeenth century and early eighteenth century, but it was viewed generally as a light entertainment. In England during the mid-eighteenth century, what had previously been regarded as a burlesque tale began to be taken seriously as a more complex work. During the Romantic era of the late eighteenth and early nineteenth centuries, the figure of Don Quixote was regarded by many as a Romantic hero. Due to the relative neglect Cervantes's novel had been receiving in Spain during the same time, in 1780 a new edition of Don Quixote was commissioned, and with the novel's reissue Cervantes's protagonist was elevated in his homeland to the status of cultural icon. In the nineteenth and early twentieth centuries, critics became interested in the character of Don Quixote as a psychological study. In the later twentieth century, critical attention began to shift away from the figure of the protagonist to the structure of the novel. Many recent critics have been interested in the work's narrative structure, seeing the novel as a prototypical example of a work composed by a highly self-conscious writer, as Cervantes playfully subverts the authority of the text and calls into question the enterprise of literature itself.
A Spanish knight, about fifty years of age, who lived in great poverty in a village of La Mancha, gave himself up so entirely to reading the romances of chivalry, of which he had a large collection, that in the end they turned his brain, and nothing would satisfy him but that he must ride abroad on his old horse, armed with spear and helmet, a knight-errant, to encounter all adventures, and to redress the innumerable wrongs of the world. He induced a neighbour of his, a poor and ignorant peasant called Sancho Panza, mounted on a very good ass, to accompany him as squire. The knight saw the world only in the mirror of his beloved romances; he mistook inns for enchanted castles, windmills for giants, and country wenches for exiled princesses. His high spirit and his courage never failed him, but his illusions led him into endless trouble. In the name of justice and chivalry he intruded himself on all whom he met, and assaulted all whom he took to be making an oppressive or discourteous use of power. He and his poor squire were beaten, trounced, cheated, and ridiculed on all hands, until in the end, by the kindliness of his old friends in the village, and with the help of some new friends who had been touched by the amiable and generous character of his illusions, the knight was cured of his whimsies and was led back to his home in the village, there to die.
That is the story of Don Quixote: it seems a slight framework for what, without much extravagance, may be called the wisest and most splendid book in the world. It is an old man's book; there is in it all the wisdom of a fiery heart that has learned patience. Shakespeare and Cervantes died on the same day, but if Cervantes had died at the same age as Shakespeare we should have had no "Don Quixote." Shakespeare himself has written nothing so full of the diverse stuff of experience, so quietly and steadily illuminated by gentle wisdom, so open-eyed in discerning the strength of the world; and Shakespeare himself is not more courageous in championing the rights of the gallant heart. Suppose the Governor of Barataria had been called on to decide the cause between these two great authors. His judgments were often wonderfully simple and obvious. Perhaps he would have ruled that whereas Shakespeare died at the age of fifty-two and Cervantes lived seventeen years longer, a man shall give his days and nights to the study of Shakespeare until he is older than ever Shakespeare was, and then, for the solace of his later years, shall pass on to the graver school of Cervantes. Not every man lives longer than Shakespeare; and, of those who do, not every man masters the art and craft of growing older with the passage of years, so that, by this rule, the Spanish gentleman would have a much smaller circle of intimates than the High Bailiff's son of Stratford. And so he has; yet his world-wide popularity is none the less assured. He has always attracted, and will always attract, a great company of readers who take a simple and legitimate delight in the comic distresses of the deluded Don, in the tricks put upon him, in the woeful absurdity of his appearance, in the many love-stories and love-songs that he hears, in the variety of the characters that he meets, in the wealth of the incidents and events that spring up, a joyous crop, wherever he sets his foot, and not least, perhaps, in the beatings, poundings, scratchings, and tumblings in the mire that are his daily portion. That is to say, those who care little or nothing for Don Quixote may yet take pleasure in the life that is in his book; and his book is full of life.
We have no very ample record of the life experience of Cervantes, which are distilled in this, his greatest book. We know that he was a soldier, and fought against the Turks at Lepanto, where his left hand was maimed for life; that he was made prisoner some years later by the Moors, and suffered five years' captivity at Algiers; that he attempted with others to escape, and when discovered and cross-examined took the whole responsibility on himself; that at last he was ransomed by the efforts of his family and friends, and returned to Spain, there to live as best he could the life of a poor man of letters, with intermittent Government employ, for thirty-six more years. He wrote sonnets and plays, pawned his family's goods, and was well acquainted with the inside of prisons. He published the First Part of "Don Quixote" in 1605 - that is to say, in his fifty-eighth year - and thenceforward enjoyed a high reputation, though his poverty continued. In 1615 the Second Part of "Don Quixote" appeared, wherein the author makes delightful play with the First Part by treating it as a book well known to all the characters of the story. In the following year he died, clothed in the Franciscan habit, and was buried in the convent of the Barefooted Trinitarian Nuns in Madrid. No stone marks his grave, but his spirit still wanders the world in the person of the finest gentleman of all the realms of fact and fable, who still maintains in discourse with all whom he meets that the thing of which the world has most need is knights-errant, to do honour to women, to fight for the cause of the oppressed, and to right the wrong. "This, then, gentlemen," he may still be heard saying, "it is to be a knight-errant, and what I have spoken of is the order of chivalry, in the which, as I have already said, I, though a sinner, have made profession; the same which these famous knights profess do I profess; and that is why I am travelling through these deserts and solitary places, in quest of adventures, with deliberate resolve to offer my arm and my person to the most dangerous adventure which fortune may present, in aid of the weak and needy." And the world is still incredulous and dazed. "By these words which he uttered," says the author in brief comment on the foregoing speech, "the travellers were quite convinced that Don Quixote was out of his wits."
It has often been said, and is still sometimes repeated by good students of Cervantes, that his main object in writing "Don Quixote" was to put an end to the influence of the romances of chivalry. It is true that these romances were the fashionable reading of his age, that many of them were trash, and that some of them were pernicious trash. It is true also that the very scheme of his book lends itself to a scathing exposure of their weaknesses, and that the moral is pointed in the scene of the Inquisition of the Books, where the priest, the barber, the housekeeper, and the niece destroy the greater part of his library by fire. But how came it that Cervantes knew the romances so well, and dwelt on some of their incidents in such loving detail? Moreover, it is worth noting that not a few of them are excluded by name from the general condemnation. "Amadis of Gaul" is spared, because it is "the best of all book of the kind." Equal praise is given to "Palmerin of England"; while of "Triante the White" the priest himself declares that it is a treasure of delight and a mine of pastime.
"Truly, I declare to you, gossip, that in its style this is the best book in the world. Here the knights eat and sleep, and die in their beds, and make their wills before they die, with other things in which the rest of the books of this kind are wanting."But even stronger evidence of the esteem that Cervantes felt for the best of the romances is to be found in his habit of linking their names with the poems of Homer and Virgil. So, in the course of instructions given by Don Quixote to Sancho Panza, while they dwelt in the wilds of the Sierra Morena, Ulysses is cited as the model of prudence and patience, Aeneas as the greatest of pious sons and expert captains, and Amadis as the "pole star, the morning star, the sun of valiant and enamoured knights, whom all we have to copy, who do battle under the banner of love and chivalry." It would indeed be a strange thing if a book which is so brave an exercise of the creative imagination were mainly destructive in its aim, and deserved no higher honour than a scavenger. The truth is that the book is so many-sided that all kinds of tastes and beliefs can find their warrant in it. The soul of it is an irony so profound that but few of its readers have explored it to the depths. It is like a mine, deep below deep; and much good treasure is to be found at the more easily accessible levels. All irony cirticises the imperfect ideas and theories of mankind, not by substituting for them other ideas and other theories, less imperfect, but by placing the facts of life, in mute comment, alongside of the theories. The Ruler of the World is the great master of irony; and man has been permitted to share some part of his enjoyment in the purifying power of fact. The weaker and more querulous members of the race commonly try to enlist the facts in the service of their pet ideas. A grave and deep spirit like Cervantes knows that the facts will endure no such servitude. They will not take orders from those who call for their verdict, nor will they be content to speak only when they are asked to speak. They intrude suddenly, in the most amazing and irrelevant fashion, on the carefully ordered plans of humanity. They cannot be explained away, and many a man who thought to have guarded himself against surprise has been surprised by love and death.
Every one sees the irony of "Don Quixote" in its first degree, and enjoys it in its more obvious forms. This absurd old gentleman, who tries to put his antiquated ideas into action in a busy, selfish, prosy world, is a figure of fun even to the meanest intelligence. But, with more thought, there comes a check to our frivolity. Is not all virtue and all goodness in the same case as Don Quixote? Does the author, after all, mean to say that the world is right, and that those who try to better it are wrong? If that is what he means, how is it that at every step of our journey we come to like the Don better, until in the end we can hardly put a limit to our love and reverence for him? Is it possible that the criticism is double-edged, and that what we are celebrating with our laughter is the failure of the world?
A wonderful thing in Cervantes' handling of his story is his absolute honesty and candour. He does not mince matters. His world behaves as the world may be expected to behave when its daily interests are violently disordered by a lunatic. Failure upon failure dogs the steps of poor Don Quixote, and he has no popularity to redeem his material disasters. "He who writes of me," says the Don pensively, in his discussion with the bachelor Sampson, "will please very few"; and the only comfort the bachelor can find for him is that the number of fools is infinite, and that the First Part of his adventures has delighted them all. As an example of Cervantes's treatment take one of the earliest of these adventures, the rescue of the boy Andres from the hands of his oppressor. As he rode away from the inn, on the first day of his knighthood, while yet he was unfurnished with a squire, Don Quixote heard cries of complaint from a thicket near by. He thanked Heaven for giving him so early an opportunity of service, and turned his horse aside to where he found a farmer beating a boy. Don Quixote, with all knightly formality, called the farmer a coward, and challenged him to a single combat. The farmer, terrified by the strange apparition, explained that the boy was his servant and by gross carelessness had lost sheep for him at the rate of one a day. The matter was at last settled by the farmer liberating the boy and promising to pay him in full his arrears of wages; whereupon the knight rode away, well pleased. Then the farmer tied up the boy again, and beat him more severely than ever, till at the last he loosed him, and told him to go and seek redress from his champion. "So the boy departed sobbing, and his master stayed behind laughing, and after this manner did the valorous Don Quixote right that wrong." Later on, when the knight and his squire are in the wilds, with the company whom chance has gathered around them, the boy appears again, and Don Quixote narrates the story of his deliverance as an illustration of the benefits conferred on the world by knight-errantry.
"All that your worship says is true," replies the lad, "but the end of the business was very much the contrary of what your worship imagines." "How contrary?" said Don Quixote. "Did he not pay thee, then?" "He not only did not pay me," said the boy, "but as soon as your worship had got outside the wood, and we were alone, he tied me again to the same tree, and gave me so many lashes that he left me flayed like St. Bartholomew; and at every lash he gave me, he uttered some jest or scoff, to make a mock of your worship; and if I had not felt so much pain, I would have laughed at what he said... For all this your worship is to blame, because if you had held on your way, and had not meddled with other people's business, my master would have been content to give me a dozen or two lashes, and afterwards he would have released me and paid me what he owed. But as your worship insulted him and called him bad names, his anger was kindled, and as he could not avenge himself on you, he left fly the tempest on me."Don Quixote sadly admits his error, and confesses that he ought to have remembered that "no churl keeps the word he gives if he finds that it does not suit him to keep it." But he promises Andres that he will yet see him righted; and with that he boy's terror awakes. "For the love of God, sir knight-errant," he says, "if you meet me again, and see me being cut to pieces, do not rescue me, nor help me, but leave me to my pain; for, however great it be, it cannot be greater than will come to me from the help of your worship - whom, with all the knights-errant ever born into the world, may God confound!" With that he ran away, and Don Quixote stood very much abashed by his story, so that the rest of the company had to take great care that they did not laugh outright and put him to confusion.
At no point in the story does Cervantes permit the reader to forget that the righter of wrongs must not look in this world for either success or praise. The indignities heaped upon that gentle and heroic soul almost revolt the reader, as Charles Lamb remarked. He is beaten and kicked; he has his teeth knocked out, and consoles himself with the thought that these hardships are incident to his profession; his face is all bedaubed with mud, and he answers with grave politeness to the mocks of those who deride him. When he stands sentry on the back of his horse at the inn, to guard the sleepers, the stable wench, Maritornes, gets him to reach up his hand to an upper window, or rather a round hole in the wall of the hayloft, whereupon she slips a running noose over his wrist and ties the rope firmly to a bar within the loft. In this posture, and in continual danger of being hung by the arm if his horse should move away, he stands till dawn, when four travellers knock at the gate of the inn. He at once challenges them for their discourtesy in disturbing the slumbers of those whom he is guarding. Even the Duke and the Duchess, who feel kindly to Don Quixote and take him under their care, are quite ready to play rough practical jokes on him. It is while he is their guest that his face is all scratched and clawed by frightened cats turned loose in his bedroom at night. His friends in the village were kinder than this, but they, to get him home, carried him through the country in a latticed cage on poles, like a wild beast, for the admiration of the populace; and he bethought himself, "As I am a new knight in the world, and the first that hath revived the forgotten exercise of chivalry, these are newly invented forms of enchantment." His spirit rises superior to all his misfortunes, and his mind remains as serene as a cloudless sky.
But Don Quixote, it may be objected, is mad. Here the irony of Cervantes finds a deeper level. Don Quixote is a high-minded idealist, who sees all things by the light of his own lofty preconceptions. To him every woman is beautiful and adorable; everything that is said to him is worthy to be heard with attention and respect; every community of men, even the casual assemblage of lodgers at an inn, is a society founded on strict rules of mutual consideration and esteem. He shapes his behaviour in accordance with these ideas, and is laughed at for his pains. But he has a squire, Sancho Panza, who is a realist and loves food and sleep, who sees the world as it is, by the light of common day. Sancho, it might be supposed, is sane, and supplies a sure standard whereby to measure his master's deviations from the normal. Not at all; Sancho, in his own way, is as mad as his master. If the one is betrayed by fantasy, the other is betrayed, with as ludicrous a result, by common sense. The thing is well seen in the question of the island, the government of which is to be entrusted to Sancho when Don Quixote comes into his kingdom. Sancho, though he would have seen through the pretenses of any merely corrupt bargainer, recognises at once that his master is disinterested and truthful, and he believes all he hears about the island. He spends much thought on the scheme, and passes many criticisms on it. Sometimes he protests that he is quite unfit for the position of a governor, and that his wife would cut a poor figure as a governor's lady. At other times he vehemently asserts that many men of much less ability than himself are governors, and eat every day off silver plate. Then he hears that, if an island should not come to hand, he is to be rewarded with a slice of a continent, and at once he stipulates that his domain shall be situated on the coast, so that he may put his subjects to a profitable use by selling them into slavery. It is not a gloss upon Cervantes to say that Sancho is mad; the suggestion is made, with significant repetition, in the book itself. "As the Lord liveth," says the barber, addressing the squire, "I begin to think that thou oughtest to keep him company in the cage, and that thou art as much enchanted as he. In an evil day wast thou impregnated with his promises, and it was a sorrowful hour when the island of thy longings entered thy skull."
So these two, in the opinion of the neighbours, are both mad, yet most of the wisdom of the book is theirs, and when neither of them is talking, the book falls into mere commonplace. And this also is many times recognised and commented on in the book itself. Sometimes it is the knight, and sometimes the squire, whose conversation makes the hearers marvel that one who talks with so much wisdom, justice, and discernment should act so foolishly. Certainly the book is a paradise of delightful discourse wherein all topics are handled and are presented in a new guise. The dramatic setting, which is the meaning of the book, is never forgotten; yet the things said are so good that when they are taken out of their setting they shine still, though with diminished splendour. What could be better than Don Quixote's treatment of the question of lineage, when he is considering his future claim to marry the beautiful daughter of a Christian or paynim King? "There are two kinds of lineage," he remarks. "The difference is this - that some were what they are not, and others are what they were not; and when the thing is looked into I might prove to be one of those who had a great and famous origin, with which the King, my father-in-law who is to be, must be content." Or what could be wiser than Sancho's account of his resignation of the governorship? "Yesterday morning I left the island as I found it, with the same streets, houses, and tiles which they had when I went there. I have borrowed nothing of nobody, nor mixed myself up with the making of profits, and though I thought to make some profitable laws, I did not make any of them, for I was afraid they would not be kept, which would be just the same as if they had never been made." Many of those who come across the pair in the course of their wanderings fall under the fascination of their talk. Not only so, but the world of imagination in which the two wanderers live proves so attractive, the infection of their ideas is so strong, that, long before the end of the story is reached, a motley company of people, from the Duke and Duchess down to the villagers, have set their own business aside in order to take part in the make-believe, and to be the persons of Don Quixote's dream. There was never any Kingdom of Barataria; but the hearts of all who knew him were set on seeing how Sancho would comport himself in the office of Governor, so the Duke lent a village for the purpose, and it was put in order and furnished with officers of State for the part that it had to play. In this way some of the fancies of the talkers almost struggle into existence, and the dream of Don Quixote makes the happiness it does not find.
Nothing in the story is more touching than the steadily growing attachment and mutual admiration of the knight and the squire. Each deeply respects the wisdom of the other, though Don Quixote, whose taste in speech is courtly, many times complains of Sancho's swarm of proverbs. Each is influenced by the other; the knight insists on treating the squire with the courtesies due to an equal, and poor Sancho, in the end, declares that not all the governments of the world shall tempt him away from the service of his beloved master. What, then, are we to think, and what does their creator think, of those two mad- men, whose lips drop wisdom? "Mark you, Sancho," said Don Quixote, "there are two kinds of beauty - one of the soul, and another of the body. That of the soul excelleth in knowledge, in modesty, in fine conduct, in liberality and good breeding; and all these virtues are found in, and may belong to, an ugly man... I see full well, Sancho, that I am not beautiful, but I know also that I am not deformed, and it is enough for a man of honour to be no monster; he may be well loved, if he possesses those gifts of soul which I have mentioned." Sometimes, at the height of his frenzy, the knight seems almost inspired. So, when the shepherds have entertained him, he offers, by way of thanks, to maintain against all comers the fame and beauty of the shepherdesses, and utters his wonderful little speech on gratitude:
"For the most part, he who received is inferior to him who gives; and hence God is above all, because he is, above all, the great giver; and the gifts of man cannot be equal to those of God, for there is an infinite distance between them; and the narrowness and insufficiency of the gifts of man is eked out by gratitude."There cannot be too much of this kind of madness. Well may Don Antonio cry out on the bachelor Sampson, who dresses himself as the Knight of the Silver Moon and overthrows Don Quixote in fight:
"O sir, may God forgive you the wrong you have done to all the world in desiring to make a sane man of the most gracious madman that the world contains! Do you not perceive that the profit which shall come from the healing of Don Quixote can never be equal to the pleasure which is caused by his ecstasies?"What if the world itself is mad, not with the ecstasy of Don Quixote, nor with the thrifty madness of Sancho, but with a flat kind of madness, a makeshift compromise between faith and doubt? All men have a vein of Quixotry somewhere in their nature. They can be counted on, in most things, to follow the beaten path of interest and custom, till suddenly there comes along some question on which they refuse to appeal to interest; they take their stand on principle, and are adamant. All men know in themselves the mood of Sancho, when he says:
"I have heard the preachers preach that we should love our Lord for himself alone, without being moved to it by the hope of glory or the fear of pain; but, for my own part, I would love him for what he is able to do for me."These two moods, the mood of Quixote and the mood of Sancho, seem to divide between them most of the splendours and most of the comforts of human life. It is rare to find either mood in its perfection. A man who should consistently indulge in himself the mood of the unregenerate Sancho would be a rogue, though, if he preserved good temper in his doings, he would be a pleasant rogue. The man who should maintain in himself the mood of Quixote would be something very like a saint. The saints of the Church Militant would find no puzzle and no obscurity in the character of the Knight of La Mancha. Some of them, perhaps, would understand better that Don Quixote understood, that the full record of his doings, compiled by Cervantes, is both a tribute to the saintly character, and a criticism of it. They certainly could not fail to discover the religious kernel of the book, as the world, in the easy confidence of its own superiority, has failed to discover it. They would know that whoso loseth his life shall save it; they would not find it difficult to understand how Don Quixote, and, in his own degree, Sancho, was willing to be a fool, that he, and the world with him, might be made wise. Above, all, they would appreciate the more squalid misadventures of Don Quixote, for, unlike the public, which recognises the saint by his aureole, they would know, none better, that the way they have chosen is the way of contempt, and that Christianity was nursed in a manger.
-- Sir Walter Raleigh (1861-1922).
1 Sir Walter Alexander Raleigh (1861-1922) was a professor of English Literature at Liverpool, Glasgow and at Oxford from 1904. Among his novels: The English Novel (1894), Milton (1900), Wordsworth (1903), and Shakespeare (1907).