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    Don Quixote: [Complete & Illustrated]
    Don Quixote: [Complete & Illustrated]
    Don Quixote: [Complete & Illustrated]
    Ebook1,695 pages30 hours

    Don Quixote: [Complete & Illustrated]

    By Miguel De Cervantes Saavedra and Murat Ukray

    4/5

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    • Love

    • Chivalry

    • Adventure

    • Social Class

    • Family

    • Star-Crossed Lovers

    • Damsel in Distress

    • Knight-Errant

    • Fish Out of Water

    • Rags to Riches

    • Forbidden Love

    • Squire

    • Enemies to Lovers

    • Loyal Sidekick

    • Wise Fool

    • Revenge

    • Humor

    • Honor

    • Loyalty

    • Betrayal

    About this ebook

    The history of our English translations of "Don Quixote" is instructive. Shelton's, the first in any language, was made, apparently, about 1608, but not published till 1612. This of course was only the First Part. It has been asserted that the Second, published in 1620, is not the work of Shelton, but there is nothing to support the assertion save the fact that it has less spirit, less of what we generally understand by "go," about it than the first, which would be only natural if the first were the work of a young man writing currente calamo, and the second that of a middle-aged man writing for a bookseller.


    On the other hand, it is closer and more literal, the style is the same, the very same translations, or mistranslations, occur in it, and it is extremely unlikely that a new translator would, by suppressing his name, have allowed Shelton to carry off the credit.


    In 1687 John Phillips, Milton's nephew, produced a "Don Quixote" "made English," he says, "according to the humour of our modern language." His "Quixote" is not so much a translation as a travesty, and a travesty that for coarseness, vulgarity, and buffoonery is almost unexampled even in the literature of that day.


    But it is, after all, the humour of "Don Quixote" that distinguishes it from all other books of the romance kind. It is this that makes it, as one of the most judicial-minded of modern critics calls it, "the best novel in the world beyond all comparison." It is its varied humour, ranging from broad farce to comedy as subtle as Shakespeare's or Moliere's that has naturalised it in every country where there are readers, and made it a classic in every language that has a literature.



    LanguageEnglish
    PublishereKitap Projesi
    Release dateApr 4, 2015
    ISBN9786155529726
    Don Quixote: [Complete & Illustrated]
    Author

    Miguel De Cervantes Saavedra

    Miguel de Cervantes Saavedra, nació el 29 de septiembre de 1547 en Alcalá de Henares, España, y falleció el 22 de abril de 1616 en Madrid. Es considerado uno de los más grandes escritores de la literatura universal y el autor más influyente de la literatura española. Es célebre principalmente por su obra maestra, "Don Quijote de la Mancha," pero también dejó un legado literario importante a través de otras obras notables.

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    Reviews for Don Quixote

    4/5

    4,261 ratings118 reviews

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    • 4/5

      Mar 30, 2019

      It's been 20 years since I've read Don Quixote, so I was due for a refresher. This was the perfect format. The art wasn't ground-breaking, but it was fun, and the story fits the episodic nature of comics perfectly. This is worth the read if you need a Don Quixote refresher, or if you just don't want to tackle it in large novel form.
    • 3/5

      Mar 30, 2019

      I have a feeling I would have liked Don Quixote a lot more in some other translation. I've wanted to read it for a while, but this translation (Wordsworth edition, P. A. Motteux) just didn't work for me. I didn't actually finish the whole thing, because I really, really didn't like the translation. One day, I will find a translation I prefer and have another attempt at it.

      I don't really feel like I get to write a proper review about the book now, but I'll jot down the impressions I got. I did get about halfway through, at least. The translation was a problem for me because it was very dry and dated. I feel like when you're translating books, the point is to make them readable to a new audience. Obviously, Cervantes shouldn't read like Stephen King, but to make the book accessible, it shouldn't read like a textbook. I feel like maybe the translation is too literal. It doesn't help that in this edition the writing is tiny and cramped together. I had a look at the Penguin edition at one point, and I seem to remember it being easier to look at, and the translation a little easier -- although of course I only read a couple of pages.

      In terms of the story, I love it. It's become so much a part of cultural background that it's a little ridiculous not to ever try it. I mean... "tilting at windmills", anyone? It is funny how early in the book that most famous part happens. I found the book rather tedious to begin with, but it was actually somewhat easier when I got to the story of Cardenio -- partly because I've read a book just recently that focused on the Cardenio story and Shakespeare, and that had been what prompted me to actually buy Don Quixote. At that point, I feel, the story does get easier, but I really couldn't cope with the translation anymore.

      I love some of the scenes and ideas, and Quixote's delusions, but it's kind of difficult for me because I get so embarrassed for delusional characters. It makes me rather uncomfortable. I also have a bit of difficulty with books that meander about and have so many stories-within-the-story, without much of a driving plot themselves, but my main problem was that I couldn't get into it and reading it felt like an awful drag.

      Please note that my rating is not for the book as a whole, nor the book in general, but for this specific edition.
    • 5/5

      Mar 30, 2019

      Grossman has successfully brought the best of the humour out to make this the defintive translation of the misadventures of literatures first chivalric gentleman. I was laughing out loud by the end of the first chapter.
    • 2/5

      Mar 30, 2019

      Don Quixote probably was a great book during Cervantes' time, but I found it to be slow, boring and uneventful. In my (humble) opinion most modern readers, used to more concise, faster paced books, will not enjoy this one.
    • 4/5

      Mar 30, 2019

      jousting at windmills - my favorite metaphor!
    • 5/5

      Mar 30, 2019

      Everyone knows about Don Q's adventures. Thoroughly enjoyed this (35 discs) audiobook based on the edition translated by Edith Grossman. Wonderful companion on 3000 mile road trip. In awe of Cervantes language and knowledge (in circa 1500).
    • 2/5

      Mar 30, 2019

      I've read the part one (of two) so far, and it doesn't seem likely that I'll bother with part two. It starts out very promising, with an unexpectedly modern sense of humor. But all the good bits (and all the famous bits) are in the first few hundred pages. Then the book just keeps going for no apparent reason, eventually devolving into a collection of novellas and short stories that have no connection to Don Quixote.
    • 5/5

      Nov 16, 2024

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    • 3/5

      Feb 5, 2025

      it’s interesting to see paradigms and tropes from almost 500 years ago revealed in this story. i am sure that i am missing the majority of the prejudices, jokes, and ridicule meant to be conveyed by the story but i’ve found that they really are wittily written.

      i think the details of the story aren’t so important as the story arc itself. in fact, it’s not quite right to say this is just one “story” because it is truly made up of many little vignettes, side-stories, and even stories within stories. it falls into the same category of frame story like Canterbury Tales, the Decameron, or One Thousand and One Nights (aka Arabian Nights). frankly, it was difficult for me to read in full because i could not see the path of the story. it just seemed to ramble on without purpose.

      Don Quixote has become so embedded in our modern culture as to be indistinguishable from mythology or psychological archetype. the commentary on the mind, class relations, knowledge of one’s own self and others, perceptions and prescriptions of madness and nonconformity, etc. are all explored in this book. of course, we get to see the prejudice of our historical past, especially with regard to women’s roles in society. the idea of someone being a “Lothario” comes from this book in the form of one of those stories within the story but this one is different in that it’s a fictional tale being told by one of the characters. it helps bring to the fore the attitudes of the book on morality surrounding marriage, how both men and women are seen to be somewhat at the mercy of a woman’s beauty, and how insecurity can be its own worst enemy. this is couched in the semantics and morality of the culture which blames the tragic outcome on the husband’s curiosity rather than his insecurity or jealousy.

      the cultural artifacts in the book are fascinating and sometimes surprising but i didn’t expect the book to be so funny. i thought that it might be sadly comic in slapstick or mocking madmen but i found genuine wit and guile. some of the dialogue and situations described are simply on the level of some of the best Monty Python or social and political satire- at least in the first part. The second part isn’t so jovial and the tone leads to a deeper, tragic feeling beneath it all where Quixote himself becomes the norm and the vile, modern, “sane” civilization through which he walks begins to seem unbalanced and crazy. In some ways, he has a Cassandra complex but instead of no one believing his tales of the future, no one believes or respects his tales of purity, innocence, or voice of fair play, honor, and romance.
    • 5/5

      Jan 7, 2025

      4.5 rounded up, this is ridiculous in all the right ways, though maybe a bit overshot in length. How absurd and endearing is this knight errant, and how cruel the world is to one out of his mind.
    • 3/5

      Aug 14, 2024

      The tomfoolery of the stories got through to me pretty quickly. I didn't hate them, but I didn't love them either. There is an interesting little bio of Cervantes included behind the selected stories and a list of questions for the English teachers to stretch their students.
    • 3/5

      Jul 8, 2024

      When is it ever a good idea to write a book belaboring how much you dislike books of a similar genre. 900 plus sometimes interesting, occasionally funny pages for an ending which laments it was hardly worthwhile.
    • 3/5

      Dec 28, 2018

      "The truth may be stretched thin, but it never breaks, and it surfaces above lies, as oil on water."

      Don Quixote is a middle-aged man from the region of La Mancha in Spain obsessed with reading books about chivalrous knights errant. One day he decides to set out, taking with him an honest but simple farm labourer, Sancho Panza, as his squire, armed with a lance and a sword to right wrongs and rescue damsels. On his horse, Rozinante, who like his master is well past his prime, Don Quixote rides the roads of Spain in search of adventure and glory.

      None of Don Quixote's adventures never really turn out as he would have hoped and his triumphs are more imaginary than real. He abandons a boy tied to a tree and being whipped by a farmer, simply because the farmer swears an oath that he will not harm the boy. He steals a barber’s basin believing it to be a mythical helmet, frees a wicked and devious man who has been sentenced to become a galley slave, absconds from an inn where he has spent the night without paying because he believes that he was a guest in a castle and therefore shouldn't have to pay. However, not everything that Don Quixote does turns out bad. He does manage, if unwittingly, to reunite two couples who had become estranged.

      Despite often bearing the brunt of the physical punishments that result from Don Quixote’s erratic behaviour, Sancho nonetheless remains loyal to his master as he endeavours to limit Don Quixote's outlandish fantasies. The first part of the novel ends when two of Don Quixote’s friends, tricks him into returning home.

      Once back in his home all of Don Quixote's books on knights errantry are burnt in an attempt to cure him of his madness but unfortunately it is far too deeply rooted to be cured so simply and it is only a matter of time before he sets out on his travels once again, accompanied by his faithful squire.

      During the intervening period of time whilst they were back at home a book has been written relating the pair's earlier escapades making them infamous. Don Quixote and Sancho meet a Duke and Duchess who have read the book about their exploits and conspire to play tricks on them for their own amusement. Whilst staying with them Sancho becomes the governor of a fictitious island which he rules for ten days before resigning reasoning that it is better to be a happy farm labourer than a miserable governor.

      On leaving the Duke and Duchess the pair travel on to Barcelona where Don Quixote is beaten and battered in a joust. They return to their respective homes where Don Quixote comes to recognise his folly whilst suffering from a fever which ultimately kills him.

      Now I must admit that I was not expecting too much before starting this but was very pleasantly surprised as I found myself on more than one occasion in tears of laughter. Likewise I enjoyed many of the conversations between Don Quixote and Sancho. I ended up almost feeling rather sorry for Don Quixote in his madness as he strived to recreate a world that never really existed. In particular I felt sorry by how he was treated by the Duke and Duchess and was uncertain whether they were merely cruel or as barmy as our two heroes. However, I also found the novel overly long and at times fairly repetitive, equally as one of my fellow reviewers have stated I hated the fact that some of the paragraphs were several pages long. Although I did enjoy it, it was a plod rather than a sprint through it. I am glad that I've read it but it is highly unlikely that I will bother to revisit it.

      1 person found this helpful

    • 5/5

      Jan 25, 2020

      I have taught Don Quixote in a sophomore Norton Anthology survey of “World”/Western Literature many times, aided by this Spanish edition I got at Princeton in ’78. Larry Lipking led a post-doctoral NEH seminar on comparative Lit, on Poetry and Criticism, and my own Ph.D. had studied 17C criticism written in verse, before Dryden made prose the main form of poetic criticism.
      Fortuitously, the main chapter I read in Spanish was one omitted from Norton. After Señor Quijana is knighted by his landlord, swearing on “the book”—farmer’s accounts of grain purchases and sales—he falls from his horse. His injury results now in Don Quixote’s reciting whole memorized chapters from books of chivalry in his library. The priest and a barber, his friends, blame their friends’ accident on his reading such books, and planning to star in one. The niece urges them to burn those damnable books as though they were heretics’.
      After the Knight is carried in to his bed, and before he recruits a neighbor farmer, Sancho Panza, to abandon his wife and children to be his squire as he attacks the windmills, Cervantes lists the accused books in Ch. 6, which makes it a chapter of Literary Criticism. Dozens are cited. Amusingly, one of these books was written by Cervantes himself, “La Galatea de Miguel de Cervantes—dijo el Barbero” (41). The priest claims he knows most of the authors, as he does here: “Muchos años ha que es grande amigo mio ese Cervantes.” He holds Cervantes writes with great “creativity” (“invention” the Renaissance word for it), but he wishes Cervantes would finish the second half of the book he promised (41).
      The priest got on to defend the poet who translated Ovid, and wrote the best heroic verse in Spanish, in Castillian. “I would cry if such a book were burned,” lloraralas yo si tal libro hubiera mandado quemar."
    • 4/5

      Jan 24, 2020

      Audible audio performed by George Guidall


      Who hasn’t heard of Don Quixote fighting windmills, or wearing a barber’s basin as a helmet? Who doesn’t know about his faithful squire, Sancho Panza? Or the beautiful Dulcinea, for whom the Knight is ready to lay down his life?

      I’d read snippets from this work over the years but never experienced the whole thing. I’m sorry I waited so long to do so. It is a marvelous piece of fiction and is widely acknowledged as the first modern-day novel.

      Cervantes gives us a main character who has lofty ideals and a noble purpose, but who is fatally flawed (possibly insane). His attempts to replicate the feats of chivalry he has long read about and admired are met with scorn and ridicule, yet he remains faithful to his ideal. Certain that he will save the imprisoned Dulcinea and win her heart and everlasting gratitude.

      Sancho is the faithful servant, commenting frequently in pithy sayings and proverbs, trying, in vain to steer his master away from disaster, but gamely following and taking his punishment. My favorite section is toward the end when Sancho is “appointed governor” and asked to hand out judgment on a variety of disputes. His solutions are surprisingly wise, despite his convoluted explanations.

      This edition is translated by Edith Grossman, and was published in 2003. While I have not read other translations, nor the original Spanish, I thought it flowed smoothly and gave me a sense of Cervantes’ style.

      The audiobook of this translation is performed by George Guidall, and he does a fantastic job of it. I was fully engaged and recalled those long-ago days when my grandparents, aunts or uncles would tell stories on the porch on summer evenings, all us children listening in rapt attention. I particularly liked the voices he used for both Don Quixote and for Sancho Panza.
    • 5/5

      Dec 31, 2019

      Some time ago, I sat through a series of art history lectures offered at our church. The minister giving the talks was the perfect person to discuss Renaissance-era paintings, having received a MFA in addition to a divinity degree. He was also someone I knew well enough to ask what I had always feared was a really dumb question: When you go into a museum and see two seemingly comparable paintings displayed side by side, why does one usually get a lot more attention (e.g. written descriptions on the wall, guidebook space) than the other? There can be many reasons, he said, but the simple answer is that the artwork getting all the love is usually the one that came first.

      I thought about that observation frequently as I was reading Don Quixote, which is widely hailed in critical circles as the first modern novel. (And, at just shy of 1,000 pages, I had plenty of time to think about a lot of things during the several weeks it took me to finish the book.) I have to confess that I was not even sure what being labeled the first modern novel even meant. However, the more time I spent immersed in the volume, the more sense that designation made. For as much as I enjoyed the inventiveness of the story, I think I enjoyed considering the historical importance of the work and the influence it has had on literature over the subsequent centuries even more.

      As I learned, the present-day version of Don Quixote actually consists of two separate novels that Cervantes wrote about ten years apart. Both parts of the book tell the same well-known tale. An aging Spanish gentleman becomes so obsessed with reading novels on chivalry that he goes “mad” and fancies himself a knight errant, whose duty it is to right wrongs wherever he finds them in the world. Pledging his chaste love and obedience to the lady Dulcinea—who, in reality, is a relatively ordinary peasant woman he barely knows—he sets out across the country on several sallies, eventually accompanied by Sancho Panza, a poor local farmer who serves as his squire.

      The myriad adventures the two men have tend to take on a similar form: in his delusional state, Don Quixote confuses an ordinary situation as a threat or a challenge that needs to be addressed (e.g., windmills confused for giant villains to be vanquished), which the simple but sensible Sancho tries to talk him out of. When the encounter goes badly for the heroes, Quixote is quick to blame the work of evil enchanters who are out to get him, rather than accept failure or the possibility that he simply misread the circumstances. This basic plot device is repeated over and over again—accompanied by a considerable amount of philosophical discourse between the knight and the squire—much of which is amusing and, occasionally, memorable.

      For me, the second half of the novel was considerably more interesting and rewarding than the first. It is also the part of the book where the “modern” label becomes more apparent. Indeed, the author himself (often in the guise of his Arabic alter-ego Cide Hamete Benengeli) becomes a third central character in the story in a very clever way. While on their adventures in this section, Quixote and Panza often meet people who already know them from having read the first half of the book and are only too happy to encourage their delusional behavior. Also, the author has the Don’s character berate another real-life writer who had produced an unauthorized plagiarism of the Quixote saga in the years between the two volumes that Cervantes himself wrote. That is not only modern, it is down-right post-modern!

      In summary, Don Quixote is an altogether remarkable and entertaining book that was also, at times, absolutely exhausting to read. I do not imagine that I will ever find the time or the energy to read it again, but I am so happy to have made it all the way through this once. There are some who rank it among the best novels ever written and I cannot argue too strenuously with that position.
    • 4/5

      Dec 30, 2019

      Don Quixote has always intimidated me. The novel is a literary giant, my own windmill to conquer. This year, over the course of a couple months, I finally read it. I was surprised by the gentle nature and sincerity of the famous knight. I’d always thought of him as a bit clownish, but in reality he is the most human of men, if that makes sense. He’s deeply flawed and so he’s deeply relatable.

      I didn’t realize when I started the book that it consists of two separate volumes published 10 years apart. The first volume includes most of the well-known elements of the story, including Don Quixote’s famous attack on the windmills. In the second volume everyone knows who Don Quixote is because they've read the first volume. It adds an interesting element to the book, because he is now trying to live up to his own legend. He's become a celebrity and his cause and condition have become well known throughout the land.
      Alonso Quixano is Don Quixote’s true name. He reads book after book dealing with stories of chivalry throughout the ages. He then becomes convinced that he is in fact a knight errant and he must go on a crusade to help the people who are suffering in Spain.

      “It is not the responsibility of knights errant to discover whether the afflicted, the enchained and the oppressed whom they encounter on the road are reduced to these circumstances and suffer this distress for their vices, or for their virtues: the knight's sole responsibility is to succour them as people in need, having eyes only for their sufferings, not for their misdeeds.”

      He saddles up his horse, Rocinante, and recruits a local farmer named Sancho Panza to embark on his travels with him. Sancho becomes his faithful squire. The two set off and along the way they “help” those who cross their path. The problem is that Don Quixote is delusional about who actually needs his help. The famous windmill scene comes about because he thinks he is fighting giants. He fights for the honor of a woman who barely knows him, Dulcinea del Toboso. The first volume contains a strange mix of stories. Everyone is able to see the Don’s madness except himself and his proverb-spouting squire. Though this is tragic in some ways, it’s also beautiful. There’s something about having complete faith in another person that gives you strength in your own life.

      The first volume is entertaining, but lacks the depth I was expecting. It wasn’t until I got into the second volume that I really fell in love with the book. There’s such a wonderful exploration of motivation, delusion, loyalty, and more. Who is Don Quixote hurting with his quest? Is it wrong to allow him to remain convinced of his knighthood? The second volume also pokes playful fun at the first volume, joking that the author exaggerated stories, etc.

      “The truth may be stretched thin, but it never breaks, and it always surfaces above lies, as oil floats on water.”

      Don Quixote’s naïveté and earnestness about his field of knight errantry make him an easy target. People who want to play tricks on him or friendly jokes or even rob him are easily able to because they know exactly what his weaknesses are. He believes, without a doubt, in the code of knight errantry that he holds himself to. He's also wise about so many things while remaining blind to his own absurdity.

      At times he reminded me of Polonius from “Hamlet” spouting off wisdom to anyone who will listen. Sometimes it's good advice, sometimes not but he believes it wholeheartedly. There's a purity in living a life so full of earnestness that you believe in your dreams without faltering and you hold yourself to a higher standard.

      BOTTOM LINE: This isn’t a novel I’ll re-read every year or anything, but it was a richly rewarding experience for me. It made me want to believe in some of the magic in life and to not always question the motives of others. Don Quixote and Sancho Panza will be with me for years to come.

      "Then the very same thing, said the knight, happens in the comedy and commerce of this world, where one meets with some people playing the parts of emperors, others in the characters of popes, and finally, all the different personages that can be introduced in a comedy; but, when the play is done, that is, when life is at an end, death strips them of the robes that distinguished their stations, and they become all equal in the grave.”

      “Time ripens all things. No man is born wise.”
    • 5/5

      Sep 8, 2019

      I loved this book. I possess a great imagination and it was put to use in Don Quixote. I hope I have committed to memory so many of scenes that made me pause and smile. Part II Chapter XLVIII — “Jesus! What am I seeing?” Scene will stay with me forever.
    • 5/5

      Sep 3, 2019

      Just amazing, I can see why it is often described as a foundation of the modern novel. In many ways it reads like it was written last week rather than more than 400 years ago.
    • 4/5

      Jul 25, 2019

      One of the most widely read stories in human history. Pretty cut and dry. He is a lunatic.
    • 4/5

      Nov 18, 2018

      Really enjoyed the bantering between Don Quixote and Sancho Panza, unfortunately, they often get separated for multiple chapters at a time. Had trouble caring about the other side stories and digressions.
    • 4/5

      Aug 14, 2018

      “El que lee mucho y anda mucho, ve mucho y sabe mucho.”


      In "Don Quixote" by Miguel de Cervantes

      Don Quixote is one of my favourite novels, exasperating though it is at times with all those stories within stories knockabout humour and cruel practical jokes. Simply because it’s so complex, we both admire and laugh at Don Quixote. When he speaks we are inclined to share his world view. And then Cervantes reminds us of what a ridiculous figure he is and undermines the effect. Until Quixote opens his mouth again. This happens again and again - until we end up seeing the novel - and the world - in two incompatible ways at once. And the relationship between Quixote and Sancho is one of the most beautiful friendships in literature. And then there are all the meta-fictional or postmodern tricks. There’s just so much to talk about.

      Violent slapstick isn’t to everyone’s taste and four hundred-year-old Spanish satire, where you have to read the footnotes to get the punch line, is … tricky. There is not in all the world’s literature, and that of the universe, as far as we know, and if you follow positivist logic, being as no other life has as of yet been detected, two palsy and yet hierarchised figures whose genial, sharp, philosophical and jocoserious dialogue, and whose philosophical adventures, bring them so endearing and humanly close to each other as the “Distinguidos” Señores Alonso Quijano and Sancho Panza. It is worth it to learn Spanish and travel the entire peninsula, which Alberti said looks like the hide of a bull, just to appreciate the impressive genius with which a writer can glean and reproduce in words the soul of his land.

      Cervantes also proves being a misogynist does not preclude great literature. Nor does being a violent, macho hypocrite. Hemingway sends his regards.
    • 4/5

      Aug 2, 2018

      I feel like I should throw myself a party having finally finished Miguel de Cervantes' "Don Quixote," which took me about two months to read. It was overall a worthwhile read, even though it sometimes became a bit tedious, it was mostly an interesting book.

      As most people are probably aware, Don Quixote goes a bit off his rocker, becomes a knight errant and crisscrosses the countryside with his trusty squire Sancho Panza. They get into heaps of trouble while he tilts at windmills, which he believes are dragons, and pining for the love of the Dulcinea de Toboso, whom he believes is enchanted and trapped in a cave. As Don Quixote's reputation spread, people take advantage of his madness for their own amusement.

      While I felt first portion of the book got a bit repetitive, Cervantes seemed to get better as he went along about putting Don Quixote in new amusing situations. This is definitely one of those classic books I'm happy to have finally read, but that I probably would never read again.
    • 3/5

      May 26, 2018

       This is a difficult one to review. Partly that is as it just took me too long to get through it. 4 months reading the same book just means that all I felt on finishing it was relief that I'd made it to the end. However, after having let it stew for a bit, I have come to the conclusion that I'm glad I have read this, and that I enjoyed it, even if that was dulled by the sheer length of the book.
      Don Quixote is one of those books that is the source of a number of phrases and sayings that are in use, and yet, until now, I'd never read the source from which they spring. Tilting at windmills is a pointless, slightly absurd, exercise, and so is Don Quixote when he attacks the windmills, thinking them to be giants. That is one of a very great number of instances when he appears to disadvantage, not seeing the world as it is, but insisting on seeing it as he imagines it should be. In the first part of the book, the tone is very much that he is mad and that he is to be laughed at. However, as the book progresses and the other characters in the books start to have fun at Don Quixote's expense (the Duke & Duchess being the most obvious examples) then I felt that he was maybe not to be laughed at. He has a sort of nobility of purpose, even if that purpose is the result of something apparently deranged. That purity of heart, if misguided, makes him seem an innocent and the way he is put through make believe trials shifts the reader's sympathies towards him. This shift is also reflected in Sancho Panca's attitude to his master. He seems to start in the same position as us, Don Quixote is mad and a figure of fun, yet by the second book, he is no longer entirely sure what is truth and what is made up. He becomes a faithful squire, supporting his master (for the most part) in all his strange adventures.
      At times I felt that I was maybe missing out on some background, or could have done with a more heavily annotated edition, in order to understand the background to Spain at this time and the literature of the knight errant that has influenced Don Quixote to set out on his quest. While I was relieved to reach the end, I felt it didn't really do the Don justice.
      I'm glad I have read this, I just wish I could have got through it a little bit more quickly, such that it felt less like a chore.
    • 5/5

      Nov 12, 2017

      "Master, sadness was made for men, not for beasts, but if men let themselves give way too much to it, they turn into beasts."

      It has been said that a person should read Don Quixote at least three times in one's life: in youth, in middle age, and in old age. I whole-heartedly agree, but I would hope that it could be read more often than that. This is my all-time favorite book, the one book I would want with me if I was stuck on a deserted island (besides the Bible, of course). To me, the best reason for a person to learn how to read literature is to be able to read this one book.

      What makes it so great? The first thing to mention is the characters. Don Quixote and Sancho Panza are the kind of people I would love to have to dinner, just to listen to them talk. They are the kinds of characters that when you finish the book you breath a big sigh and say to yourself, "I wish they were real people, so that I could meet them." And then you smile and think, "Wait, it's a book--I can meet them again anytime I want to!"

      In addition to the characters, another great quality of Don Quixote is its humor. At some parts you will laugh out loud, at others you will simply smile. But whether you roll on the floor or just grin, Don Quixote is just about the most pleasant book you will ever read. And by that I mean that it's just plain fun, from cover to cover.

      That's not to say that it's not serious. Don Quixote deals with the most important issues of life: love, friendship, duty, honor. It is also quite sad and moving in a few places. In fact, it may contain the saddest scene I have ever read.

      But what is it about? you may be asking. I haven't said anything yet about the plot, and for two reasons. One, many people are familiar with the story of the old man who has read so many books about knights that he decides to become one. And two, Don Quixote isn't really about the plot. It's really the story of one man's attempt to make a real difference in the world, no matter how foolish he seems to others.

      I would like to conclude with a few words about how to approach this book. First, know that it is extremely long, so it requires patience and perseverance. Second, understand that the book is divided into two parts, which were written 15 years apart. That's important to know to get some of the humor of the second part, which is actually the best half. Try to read a complete, unabridged version if you can, even if you have to skim a few chapters.

      Finally, Don Quixote needs to be read at a leisurely pace. It is not like a blockbuster action movie, or a suspenseful thriller. Reading it should be more like sinking into a hot tub at the end of the day, or like sitting around a campfire talking with friends late at night. It is something to be savored, because it is over far too soon.
    • 3/5

      Oct 29, 2017

      The introduction educates the reader of this translation of Don Qixote, that it has been abridged for the modern reader. I enjoyed it, knowing I would never have tried a book like this if were not adapted for readers today. I wanted to have a taste, or feel of this classic just for the experience of it. It is well done for interest, the narrator easy to listen to and edited carefully to give you the meat of the book without unnecessary details that the original writing style included. I would recommend it if you are not a classic purist.
    • 5/5

      Oct 2, 2017

      I finally finished Cervantes' DON QUIXOTE. It was a rewarding experience. It is a hilarious book. To travel along with Quixote, the knight errant and his squire, Sancho Panza is quite a voyage full of adventures. I could call this an adventure story if it weren't so ridiculous. Quixote decides to act out the story of the chivalrous knight that was prevalent in the literature of the time. We accompany him on all sorts of adventures which seem preposterous but he seemed to believe them. It is a fun read and i recommend it.
    • 1/5

      Jul 26, 2017

      I tried, I really did. Just could not finish it. There were some funny moments, but after struggling to get 1/3 of the way through, I gave up.
    • 5/5

      Jun 10, 2017

      Can innocence only exist in a past long forgotten? What are the dangers of reading books? What is madness? In his renowned book, Miguel de Cervantes deals with these questions and more as he takes us along on the journey of Don Quixote de La Mancha and his faithful squire, Sancho Panza.
    • 4/5

      Apr 17, 2017

      Oh Don Quixote! How I loved you and hated you and loved you some more! I struggled to become engaged with this book, but at some point I fell in hard and found myself laughing through Don Quixote and Sancho Panza's ridiculous adventures! This is a story of madness, friendship, and everything in between. While some parts are down right hard to believe, they are balanced with times of such genuine human interaction, that the reader cannot help but identify with the main characters.

    Book preview

    Don Quixote - Miguel De Cervantes Saavedra

    Don Quixote

    [Complete & Illustrated]

    By

    Miguel De Cervantes

    Translated By John Ormsby

    Illustrated by Murat Ukray

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    ISBN: 978-6155-52-9726

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    Table of Contents

    Don Quixote [Complete & Illustrated]

    Don Quixote (Volume I)

    Contents of Part I

    Translator’s Preface

    I: About This Translation

    II: About Cervantes And Don Quixote

    Some Commendatory Verses On Don Quixote

    Urganda the Unknown

    Sonnet

    From El Donoso, The Motley Poet

    On Rocinante

    The Knight of Phoebus

    The Author’s Preface

    Chapter I

    Which Treats of the Character And Pursuits of the Famous Gentleman Don Quixote of La Mancha

    Chapter II

    Which Treats of the First Sally the Ingenious Don Quixote Made From Home

    Chapter III

    Wherein Is Related the Droll Way In Which Don Quixote Had Himself Dubbed a Knight

    Chapter IV

    Of What Happened to Our Knight When He Left the Inn

    Chapter V

    In Which the Narrative of Our Knight’s Mishap Is Continued

    Chapter VI

    Of the Diverting And Important Scrutiny Which the Curate And the Barber Made In the Library of Our Ingenious Gentleman

    Chapter VII

    Of the Second Sally of Our Worthy Knight Don Quixote of La Mancha

    Chapter VIII

    Of the Good Fortune Which the Valiant Don Quixote Had In the Terrible And Undreamt-Of Adventure of the Windmills, With Other Occurences Worthy to Be Fitly Recorded

    Chapter IX

    In Which Is Concluded And Finished the Terrific Battle Between the Galiant Biscayan And the Valiant Manchegan

    Chapter X

    Of the Pleasant Discourse That Passed Between Don Quixote And His Squire Sancho Panza

    Chapter XI

    What Befell Don Quixote With Certain Goatherds

    Antonio’s Baliad

    Chapter XII

    Of What a Goatherd Related to Those With Don Quixote

    Chapter XIII

    In Which Is Ended the Story of the Shepherdess Marcela, With Other Incidents

    Chapter XIV

    Wherein Are Inserted the Despairing Verses of the Dead Shepherd, Together With Other Incidents Not Looked For the Lay of Chrysostom

    Chapter XV

    In Which Is Related the Unfortunate Adventure That Don Quixote Fell In With When He Fell Out With Certain Heartless Yanguesans

    Chapter XVI

    Of What Happened to the Ingenious Gentleman In the Inn Which He Took to Be a Castle

    Chapter XVII

    In Which Are Contained the Innumerable Troubles Which the Brave Don Quixote And His Good Squire Sancho Panza Endured In the Inn, Which to His Misfortune He Took to Be a Castle

    Chapter XVIII

    In Which Is Related the Discourse Sancho Panza Held With His Master, Don Quixote, And Other Adventures Worth Relating

    Chapter XIX

    Of the Shrewd Discourse Which Sancho Held With His Master, And of the Adventure That Befell Him With a Dead Body, Together With Other Notable Occurrences

    Chapter XX

    Of the Unexampled And Unheard-Of Adventure Which Was Achieved By the Valiant Don Quixote of La Mancha With Less Peril Than Any Ever Achieved By Any Famous Knight In the World

    Chapter XXI

    Which Treats of the Exalted Adventure And Rich Prize of Mambrino’s Helmet, Together With Other Things That Happened to Our Invincible Knight

    Chapter XXII

    Of the Freedom Don Quixote Conferred On Several Unfortunates Who Against Their Will Were Being Carried Where They Had No Wish to Go

    Chapter XXIII

    Of What Befell Don Quixote In the Sierra Morena, Which Was One of the Rarest Adventures Related In This Veracious History

    Chapter XXIV

    In Which Is Continued the Adventure of the Sierra Morena

    Chapter XXV

    Which Treats of the Strange Things That Happened to the Stout Knight of La Mancha In the Sierra Morena, And of His Imitation of the Penance of Beltenebros

    Don Quixote’s Letter to Dulcinea Del Toboso

    Chapter XXVI

    In Which Are Continued the Refinements Wherewith Don Quixote Played the Part of a Lover In the Sierra Morena

    Chapter XXVII

    Of How the Curate And the Barber Proceeded With Their Scheme; Together With Other Matters Worthy of Record In This Great History

    Chapter XXVIII

    Which Treats of the Strange And Delightful Adventure Thet Befell the Curate And the Barber In the Same Sierra

    Chapter XXIX

    Which Treats of the Droll Device And Method Adopted to Extricate Our Love-Stricken Knight From the Severe Penance He Had Imposed Upon Himself

    Chapter XXX

    Which Treats of Address Displayed By the Fair Dorothea, With Other Matters Pleasant And Amusing

    Chapter XXXI

    Of the Delectable Discussion Between Don Quixote And Sancho Panza, His Squire, Together With Other Incidents

    Chapter XXXII

    Which Treats Of What Befell Don Quixote’s Party at the Inn

    Chapter XXXIII

    In Which Is Related the Novel of The Ill-Advised Curiosity

    Chapter XXXIV

    In Which Is Continued the Novel of The Ill-Advised Curiosity

    Chapter XXXV

    Which Treats of the Heroic And Prodigious Battle Don Quixote Had With Certain Skins of Red Wine, And Brings the Novel of The Ill-Advised Curiosity to a Close

    Chapter XXXVI

    Which Treats of More Curious Incidents That Occured at the Inn

    Chapter XXXVII

    In Which Is Continued the Story of the Famous Princess Micomicona, With Other Droll Adventures

    Chapter XXXVIII

    Which Treats of the Curious Discourse Don Quixote Delivered On Arms And Letters

    Chapter XXXIX

    Wherein the Captive Relates His Life And Adventures

    Chapter XL

    In Which the Story of the Captive Is Continued

    Chapter XLI

    In Which the Captive Still Continues His Adventures

    Chapter XLII

    Which Treats of What Further Took Place In the Inn, And of Several Other Things Worth Knowing

    Chapter XLIII

    Wherein Is Related the Pleasant Story of the Muleteer, Together With Other Strange Things That Came to Pass In the Inn

    Chapter XLIV

    In Which Are Continued the Unheard-Of Adventures of the Inn

    Chapter XLV

    In Which the Doubtful Question of Mambrino’s Helmet And the Pack-Saddle Is Finally Settled, With Other Adventures That Occured In Truth And Earnest

    Chapter XLVI

    Of the End of the Notable Adventure of the Officers of the Holy Brotherhood; And of the Great Ferocity of Our Worthy Knight, Don Quixote

    Chapter XLVII

    Of the Strange Manner In Which Don Quixote of La Mancha Was Carrried Away Enchanted, Together With Other Remarkable Incidents

    Chapter XLVIII

    In Which the Canon Pursues the Subject of the Books of Chivalry, With Other Matters Worthy of His Wit

    Chapter XLIX

    Which Treats of the Shrewd Conversations Which Sancho Panza Held With His Master Don Quixote

    Chapter L

    Of the Shrewd Controversy Which Don Quixote And the Canon Held, Together With Other Incidents

    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

    Don Quixote (Volume II)

    Contents of Part II

    Chapter I

    Chapter II

    Chapter III

    Chapter IV

    Chapter V

    Chapter VI

    Chapter VII

    Chapter VIII

    Chapter IX

    Chapter X

    Chapter XI

    Chapter XII

    Chapter XIII

    Chapter XIV

    Chapter XV

    Chapter XVI

    Chapter XVII

    Chapter XVIII

    Chapter XIX

    Chapter XX

    Chapter XXI

    Chapter XXII

    Chapter XXIII

    Chapter XXIV

    Chapter XXV

    Chapter XXVI

    Chapter XXVII

    Chapter XXVIII

    Chapter XXIX

    Chapter XXX

    Chapter XXXI

    Chapter XXXII

    Chapter XXXIII

    Chapter XXXIV

    Chapter XXXV

    Chapter XXXVI

    Chapter XXXVII

    Chapter XXXVIII

    Chapter XXXIX

    Chapter XL

    Chapter XLI

    Chapter XLII

    Chapter XLIII

    Chapter XLIV

    Chapter XLV

    Chapter XLVI

    Chapter XLVII

    Chapter XLVIII

    Chapter XLIX

    Chapter L

    Chapter LI

    Chapter LII

    Chapter LIII

    Chapter LIV

    Chapter LV

    Chapter LVI

    Chapter LVII

    Chapter LVIII

    Chapter LIX

    Chapter LX

    Chapter LXI

    Chapter LXII

    Chapter LXIII

    Chapter LXIV

    Chapter LXV

    Chapter LXVI

    Chapter LXVII

    Chapter LXVIII

    Chapter LXIX

    Chapter LXX

    Chapter LXXI

    Chapter LXXII

    Chapter LXXIII

    Chapter LXXIV

    Don Quixote

    Miguel de Cervantes [Saavedra]

    Translated by John Ormsby

    1612

    Don Quixote (Volume I)

    Contents of Part I

    CHAPTER I WHICH TREATS OF THE CHARACTER AND PURSUITS OF THE FAMOUS GENTLEMAN DON QUIXOTE OF LA MANCHA

    CHAPTER II WHICH TREATS OF THE FIRST SALLY THE INGENIOUS DON QUIXOTE MADE FROM HOME

    CHAPTER III WHEREIN IS RELATED THE DROLL WAY IN WHICH DON QUIXOTE HAD HIMSELF DUBBED A KNIGHT

    CHAPTER IV OF WHAT HAPPENED TO OUR KNIGHT WHEN HE LEFT THE INN

    CHAPTER V IN WHICH THE NARRATIVE OF OUR KNIGHT'S MISHAP IS CONTINUED

    CHAPTER VI OF THE DIVERTING AND IMPORTANT SCRUTINY WHICH THE CURATE AND THE BARBER MADE IN THE LIBRARY OF OUR INGENIOUS GENTLEMAN

    CHAPTER VII OF THE SECOND SALLY OF OUR WORTHY KNIGHT DON QUIXOTE OF LA MANCHA

    CHAPTER VIII OF THE GOOD FORTUNE WHICH THE VALIANT DON QUIXOTE HAD IN THE TERRIBLE AND UNDREAMT-OF ADVENTURE OF THE WINDMILLS, WITH OTHER OCCURRENCES WORTHY TO BE FITLY RECORDED

    CHAPTER IX IN WHICH IS CONCLUDED AND FINISHED THE TERRIFIC BATTLE BETWEEN THE GALLANT BISCAYAN AND THE VALIANT MANCHEGAN

    CHAPTER X OF THE PLEASANT DISCOURSE THAT PASSED BETWEEN DON QUIXOTE AND HIS SQUIRE SANCHO PANZA

    CHAPTER XI OF WHAT BEFELL DON QUIXOTE WITH CERTAIN GOATHERDS

    CHAPTER XII OF WHAT A GOATHERD RELATED TO THOSE WITH DON QUIXOTE

    CHAPTER XIII IN WHICH IS ENDED THE STORY OF THE SHEPHERDESS MARCELA, WITH OTHER INCIDENTS

    CHAPTER XIV WHEREIN ARE INSERTED THE DESPAIRING VERSES OF THE DEAD SHEPHERD, TOGETHER WITH OTHER INCIDENTS NOT LOOKED FOR

    CHAPTER XV IN WHICH IS RELATED THE UNFORTUNATE ADVENTURE THAT DON QUIXOTE FELL IN WITH WHEN HE FELL OUT WITH CERTAIN HEARTLESS YANGUESANS

    CHAPTER XVI OF WHAT HAPPENED TO THE INGENIOUS GENTLEMAN IN THE INN WHICH HE TOOK TO BE A CASTLE

    CHAPTER XVII IN WHICH ARE CONTAINED THE INNUMERABLE TROUBLES WHICH THE BRAVE DON QUIXOTE AND HIS GOOD SQUIRE SANCHO PANZA ENDURED IN THE INN, WHICH TO HIS MISFORTUNE HE TOOK TO BE A CASTLE

    CHAPTER XVIII IN WHICH IS RELATED THE DISCOURSE SANCHO PANZA HELD WITH HIS MASTER, DON QUIXOTE, AND OTHER ADVENTURES WORTH RELATING

    CHAPTER XIX OF THE SHREWD DISCOURSE WHICH SANCHO HELD WITH HIS MASTER, AND OF THE ADVENTURE THAT BEFELL HIM WITH A DEAD BODY, TOGETHER WITH OTHER NOTABLE OCCURRENCES

    CHAPTER XX OF THE UNEXAMPLED AND UNHEARD-OF ADVENTURE WHICH WAS ACHIEVED BY THE VALIANT DON QUIXOTE OF LA MANCHA WITH LESS PERIL THAN ANY EVER ACHIEVED BY ANY FAMOUS KNIGHT IN THE WORLD

    CHAPTER XXI WHICH TREATS OF THE EXALTED ADVENTURE AND RICH PRIZE OF MAMBRINO'S HELMET, TOGETHER WITH OTHER THINGS THAT HAPPENED TO OUR INVINCIBLE KNIGHT

    CHAPTER XXII OF THE FREEDOM DON QUIXOTE CONFERRED ON SEVERAL UNFORTUNATES WHO AGAINST THEIR WILL WERE BEING CARRIED WHERE THEY HAD NO WISH TO GO

    CHAPTER XXIII OF WHAT BEFELL DON QUIXOTE IN THE SIERRA MORENA, WHICH WAS ONE OF THE RAREST ADVENTURES RELATED IN THIS VERACIOUS HISTORY

    CHAPTER XXIV IN WHICH IS CONTINUED THE ADVENTURE OF THE SIERRA MORENA

    CHAPTER XXV WHICH TREATS OF THE STRANGE THINGS THAT HAPPENED TO THE STOUT KNIGHT OF LA MANCHA IN THE SIERRA MORENA, AND OF HIS IMITATION OF THE PENANCE OF BELTENEBROS

    CHAPTER XXVI IN WHICH ARE CONTINUED THE REFINEMENTS WHEREWITH DON QUIXOTE PLAYED THE PART OF A LOVER IN THE SIERRA MORENA

    CHAPTER XXVII OF HOW THE CURATE AND THE BARBER PROCEEDED WITH THEIR SCHEME; TOGETHER WITH OTHER MATTERS WORTHY OF RECORD IN THIS GREAT HISTORY

    CHAPTER XXVIII WHICH TREATS OF THE STRANGE AND DELIGHTFUL ADVENTURE THAT BEFELL THE CURATE AND THE BARBER IN THE SAME SIERRA

    CHAPTER XXIX WHICH TREATS OF THE DROLL DEVICE AND METHOD ADOPTED TO EXTRICATE OUR LOVE-STRICKEN KNIGHT FROM THE SEVERE PENANCE HE HAD IMPOSED UPON HIMSELF

    CHAPTER XXX WHICH TREATS OF ADDRESS DISPLAYED BY THE FAIR DOROTHEA, WITH OTHER MATTERS PLEASANT AND AMUSING

    CHAPTER XXXI OF THE DELECTABLE DISCUSSION BETWEEN DON QUIXOTE AND SANCHO PANZA, HIS SQUIRE, TOGETHER WITH OTHER INCIDENTS

    CHAPTER XXXII WHICH TREATS OF WHAT BEFELL DON QUIXOTE'S PARTY AT THE INN

    CHAPTER XXXIII IN WHICH IS RELATED THE NOVEL OF THE ILL-ADVISED CURIOSITY

    CHAPTER XXXIV IN WHICH IS CONTINUED THE NOVEL OF THE ILL-ADVISED CURIOSITY

    CHAPTER XXXV WHICH TREATS OF THE HEROIC AND PRODIGIOUS BATTLE DON QUIXOTE HAD WITH CERTAIN SKINS OF RED WINE, AND BRINGS THE NOVEL OF THE ILL-ADVISED CURIOSITY TO A CLOSE

    CHAPTER XXXVI WHICH TREATS OF MORE CURIOUS INCIDENTS THAT OCCURRED AT THE INN

    CHAPTER XXXVII IN WHICH IS CONTINUED THE STORY OF THE FAMOUS PRINCESS MICOMICONA, WITH OTHER DROLL ADVENTURES

    CHAPTER XXXVIII WHICH TREATS OF THE CURIOUS DISCOURSE DON QUIXOTE DELIVERED ON ARMS AND LETTERS

    CHAPTER XXXIX WHEREIN THE CAPTIVE RELATES HIS LIFE AND ADVENTURES

    CHAPTER XL IN WHICH THE STORY OF THE CAPTIVE IS CONTINUED.

    CHAPTER XLI IN WHICH THE CAPTIVE STILL CONTINUES HIS ADVENTURES

    CHAPTER XLII WHICH TREATS OF WHAT FURTHER TOOK PLACE IN THE INN, AND OF SEVERAL OTHER THINGS WORTH KNOWING

    CHAPTER XLIII WHEREIN IS RELATED THE PLEASANT STORY OF THE MULETEER, TOGETHER WITH OTHER STRANGE THINGS THAT CAME TO PASS IN THE INN

    CHAPTER XLIV IN WHICH ARE CONTINUED THE UNHEARD-OF ADVENTURES OF THE INN

    CHAPTER XLV IN WHICH THE DOUBTFUL QUESTION OF MAMBRINO'S HELMET AND THE PACK-SADDLE IS FINALLY SETTLED, WITH OTHER ADVENTURES THAT OCCURRED IN TRUTH AND EARNEST

    CHAPTER XLVI OF THE END OF THE NOTABLE ADVENTURE OF THE OFFICERS OF THE HOLY BROTHERHOOD; AND OF THE GREAT FEROCITY OF OUR WORTHY KNIGHT, DON QUIXOTE

    CHAPTER XLVII OF THE STRANGE MANNER IN WHICH DON QUIXOTE OF LA MANCHA WAS CARRIED AWAY ENCHANTED, TOGETHER WITH OTHER REMARKABLE INCIDENTS

    CHAPTER XLVIII IN WHICH THE CANON PURSUES THE SUBJECT OF THE BOOKS OF CHIVALRY, WITH OTHER MATTERS WORTHY OF HIS WIT

    CHAPTER XLIX WHICH TREATS OF THE SHREWD CONVERSATION WHICH SANCHO PANZA HELD WITH HIS MASTER DON QUIXOTE

    CHAPTER L OF THE SHREWD CONTROVERSY WHICH DON QUIXOTE AND THE CANON HELD, TOGETHER WITH OTHER INCIDENTS

    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

    Translator’s Preface

    I: About This Translation

    It was with considerable reluctance that I abandoned in favour of the present undertaking what had long been a favourite project: that of a new edition of Shelton's Don Quixote, which has now become a somewhat scarce book. There are some—and I confess myself to be one—for whom Shelton's racy old version, with all its defects, has a charm that no modern translation, however skilful or correct, could possess. Shelton had the inestimable advantage of belonging to the same generation as Cervantes; Don Quixote had to him a vitality that only a contemporary could feel; it cost him no dramatic effort to see things as Cervantes saw them; there is no anachronism in his language; he put the Spanish of Cervantes into the English of Shakespeare. Shakespeare himself most likely knew the book; he may have carried it home with him in his saddle-bags to Stratford on one of his last journeys, and under the mulberry tree at New Place joined hands with a kindred genius in its pages.

    But it was soon made plain to me that to hope for even a moderate popularity for Shelton was vain. His fine old crusted English would, no doubt, be relished by a minority, but it would be only by a minority. His warmest admirers must admit that he is not a satisfactory representative of Cervantes. His translation of the First Part was very hastily made and was never revised by him. It has all the freshness and vigour, but also a full measure of the faults, of a hasty production. It is often very literal—barbarously literal frequently—but just as often very loose. He had evidently a good colloquial knowledge of Spanish, but apparently not much more. It never seems to occur to him that the same translation of a word will not suit in every case.

    It is often said that we have no satisfactory translation of Don Quixote. To those who are familiar with the original, it savours of truism or platitude to say so, for in truth there can be no thoroughly satisfactory translation of Don Quixote into English or any other language. It is not that the Spanish idioms are so utterly unmanageable, or that the untranslatable words, numerous enough no doubt, are so superabundant, but rather that the sententious terseness to which the humour of the book owes its flavour is peculiar to Spanish, and can at best be only distantly imitated in any other tongue.

    The history of our English translations of Don Quixote is instructive. Shelton's, the first in any language, was made, apparently, about 1608, but not published till 1612. This of course was only the First Part. It has been asserted that the Second, published in 1620, is not the work of Shelton, but there is nothing to support the assertion save the fact that it has less spirit, less of what we generally understand by go, about it than the first, which would be only natural if the first were the work of a young man writing currente calamo, and the second that of a middle-aged man writing for a bookseller. On the other hand, it is closer and more literal, the style is the same, the very same translations, or mistranslations, occur in it, and it is extremely unlikely that a new translator would, by suppressing his name, have allowed Shelton to carry off the credit.

    In 1687 John Phillips, Milton's nephew, produced a Don Quixote made English, he says, according to the humour of our modern language. His Quixote is not so much a translation as a travesty, and a travesty that for coarseness, vulgarity, and buffoonery is almost unexampled even in the literature of that day.

    Ned Ward's Life and Notable Adventures of Don Quixote, merrily translated into Hudibrastic Verse (1700), can scarcely be reckoned a translation, but it serves to show the light in which Don Quixote was regarded at the time.

    A further illustration may be found in the version published in 1712 by Peter Motteux, who had then recently combined tea-dealing with literature. It is described as translated from the original by several hands, but if so all Spanish flavour has entirely evaporated under the manipulation of the several hands. The flavour that it has, on the other hand, is distinctly Franco-cockney. Anyone who compares it carefully with the original will have little doubt that it is a concoction from Shelton and the French of Filleau de Saint Martin, eked out by borrowings from Phillips, whose mode of treatment it adopts. It is, to be sure, more decent and decorous, but it treats Don Quixote in the same fashion as a comic book that cannot be made too comic.

    To attempt to improve the humour of Don Quixote by an infusion of cockney flippancy and facetiousness, as Motteux's operators did, is not merely an impertinence like larding a sirloin of prize beef, but an absolute falsification of the spirit of the book, and it is a proof of the uncritical way in which Don Quixote is generally read that this worse than worthless translation—worthless as failing to represent, worse than worthless as misrepresenting—should have been favoured as it has been.

    It had the effect, however, of bringing out a translation undertaken and executed in a very different spirit, that of Charles Jervas, the portrait painter, and friend of Pope, Swift, Arbuthnot, and Gay. Jervas has been allowed little credit for his work, indeed it may be said none, for it is known to the world in general as Jarvis's. It was not published until after his death, and the printers gave the name according to the current pronunciation of the day. It has been the most freely used and the most freely abused of all the translations. It has seen far more editions than any other, it is admitted on all hands to be by far the most faithful, and yet nobody seems to have a good word to say for it or for its author. Jervas no doubt prejudiced readers against himself in his preface, where among many true words about Shelton, Stevens, and Motteux, he rashly and unjustly charges Shelton with having translated not from the Spanish, but from the Italian version of Franciosini, which did not appear until ten years after Shelton's first volume. A suspicion of incompetence, too, seems to have attached to him because he was by profession a painter and a mediocre one (though he has given us the best portrait we have of Swift), and this may have been strengthened by Pope's remark that he translated 'Don Quixote' without understanding Spanish. He has been also charged with borrowing from Shelton, whom he disparaged. It is true that in a few difficult or obscure passages he has followed Shelton, and gone astray with him; but for one case of this sort, there are fifty where he is right and Shelton wrong. As for Pope's dictum, anyone who examines Jervas's version carefully, side by side with the original, will see that he was a sound Spanish scholar, incomparably a better one than Shelton, except perhaps in mere colloquial Spanish. He was, in fact, an honest, faithful, and painstaking translator, and he has left a version which, whatever its shortcomings may be, is singularly free from errors and mistranslations.

    The charge against it is that it is stiff, dry—wooden in a word,-and no one can deny that there is a foundation for it. But it may be pleaded for Jervas that a good deal of this rigidity is due to his abhorrence of the light, flippant, jocose style of his predecessors. He was one of the few, very few, translators that have shown any apprehension of the unsmiling gravity which is the essence of Quixotic humour; it seemed to him a crime to bring Cervantes forward smirking and grinning at his own good things, and to this may be attributed in a great measure the ascetic abstinence from everything savouring of liveliness which is the characteristic of his translation. In most modern editions, it should be observed, his style has been smoothed and smartened, but without any reference to the original Spanish, so that if he has been made to read more agreeably he has also been robbed of his chief merit of fidelity.

    Smollett's version, published in 1755, may be almost counted as one of these. At any rate it is plain that in its construction Jervas's translation was very freely drawn upon, and very little or probably no heed given to the original Spanish.

    The later translations may be dismissed in a few words. George Kelly's, which appeared in 1769, printed for the Translator, was an impudent imposture, being nothing more than Motteux's version with a few of the words, here and there, artfully transposed; Charles Wilmot's (1774) was only an abridgment like Florian's, but not so skilfully executed; and the version published by Miss Smirke in 1818, to accompany her brother's plates, was merely a patchwork production made out of former translations. On the latest, Mr. A. J. Duffield's, it would be in every sense of the word impertinent in me to offer an opinion here. I had not even seen it when the present undertaking was proposed to me, and since then I may say vidi tantum, having for obvious reasons resisted the temptation which Mr. Duffield's reputation and comely volumes hold out to every lover of Cervantes.

    From the foregoing history of our translations of Don Quixote, it will be seen that there are a good many people who, provided they get the mere narrative with its full complement of facts, incidents, and adventures served up to them in a form that amuses them, care very little whether that form is the one in which Cervantes originally shaped his ideas. On the other hand, it is clear that there are many who desire to have not merely the story he tells, but the story as he tells it, so far at least as differences of idiom and circumstances permit, and who will give a preference to the conscientious translator, even though he may have acquitted himself somewhat awkwardly.

    But after all there is no real antagonism between the two classes; there is no reason why what pleases the one should not please the other, or why a translator who makes it his aim to treat Don Quixote with the respect due to a great classic, should not be as acceptable even to the careless reader as the one who treats it as a famous old jest-book. It is not a question of caviare to the general, or, if it is, the fault rests with him who makes so. The method by which Cervantes won the ear of the Spanish people ought, mutatis mutandis, to be equally effective with the great majority of English readers. At any rate, even if there are readers to whom it is a matter of indifference, fidelity to the method is as much a part of the translator's duty as fidelity to the matter. If he can please all parties, so much the better; but his first duty is to those who look to him for as faithful a representation of his author as it is in his power to give them, faithful to the letter so long as fidelity is practicable, faithful to the spirit so far as he can make it.

    My purpose here is not to dogmatise on the rules of translation, but to indicate those I have followed, or at least tried to the best of my ability to follow, in the present instance. One which, it seems to me, cannot be too rigidly followed in translating Don Quixote, is to avoid everything that savours of affectation. The book itself is, indeed, in one sense a protest against it, and no man abhorred it more than Cervantes. For this reason, I think, any temptation to use antiquated or obsolete language should be resisted. It is after all an affectation, and one for which there is no warrant or excuse. Spanish has probably undergone less change since the seventeenth century than any language in Europe, and by far the greater and certainly the best part of Don Quixote differs but little in language from the colloquial Spanish of the present day. Except in the tales and Don Quixote's speeches, the translator who uses the simplest and plainest everyday language will almost always be the one who approaches nearest to the original.

    Seeing that the story of Don Quixote and all its characters and incidents have now been for more than two centuries and a half familiar as household words in English mouths, it seems to me that the old familiar names and phrases should not be changed without good reason. Of course a translator who holds that Don Quixote should receive the treatment a great classic deserves, will feel himself bound by the injunction laid upon the Morisco in Chap. IX not to omit or add anything.

    II: About Cervantes And Don Quixote

    http://upload.wikimedia.org/wikipedia/commons/6/66/Cervates_jauregui.jpg

    Miguel De Cervantes

    Four generations had laughed over Don Quixote before it occurred to anyone to ask, who and what manner of man was this Miguel de Cervantes Saavedra whose name is on the title-page; and it was too late for a satisfactory answer to the question when it was proposed to add a life of the author to the London edition published at Lord Carteret's instance in 1738. All traces of the personality of Cervantes had by that time disappeared. Any floating traditions that may once have existed, transmitted from men who had known him, had long since died out, and of other record there was none; for the sixteenth and seventeenth centuries were incurious as to the men of the time, a reproach against which the nineteenth has, at any rate, secured itself, if it has produced no Shakespeare or Cervantes. All that Mayans y Siscar, to whom the task was entrusted, or any of those who followed him, Rios, Pellicer, or Navarrete, could do was to eke out the few allusions Cervantes makes to himself in his various prefaces with such pieces of documentary evidence bearing upon his life as they could find.

    This, however, has been done by the last-named biographer to such good purpose that he has superseded all predecessors. Thoroughness is the chief characteristic of Navarrete's work. Besides sifting, testing, and methodising with rare patience and judgment what had been previously brought to light, he left, as the saying is, no stone unturned under which anything to illustrate his subject might possibly be found. Navarrete has done all that industry and acumen could do, and it is no fault of his if he has not given us what we want. What Hallam says of Shakespeare may be applied to the almost parallel case of Cervantes: It is not the register of his baptism, or the draft of his will, or the orthography of his name that we seek; no letter of his writing, no record of his conversation, no character of him drawn … by a contemporary has been produced.

    It is only natural, therefore, that the biographers of Cervantes, forced to make brick without straw, should have recourse largely to conjecture, and that conjecture should in some instances come by degrees to take the place of established fact. All that I propose to do here is to separate what is matter of fact from what is matter of conjecture, and leave it to the reader's judgment to decide whether the data justify the inference or not.

    The men whose names by common consent stand in the front rank of Spanish literature, Cervantes, Lope de Vega, Quevedo, Calderon, Garcilaso de la Vega, the Mendozas, Gongora, were all men of ancient families, and, curiously, all, except the last, of families that traced their origin to the same mountain district in the North of Spain. The family of Cervantes is commonly said to have been of Galician origin, and unquestionably it was in possession of lands in Galicia at a very early date; but I think the balance of the evidence tends to show that the solar, the original site of the family, was at Cervatos in the north-west corner of Old Castile, close to the junction of Castile, Leon, and the Asturias. As it happens, there is a complete history of the Cervantes family from the tenth century down to the seventeenth extant under the title of Illustrious Ancestry, Glorious Deeds, and Noble Posterity of the Famous Nuno Alfonso, Alcaide of Toledo, written in 1648 by the industrious genealogist Rodrigo Mendez Silva, who availed himself of a manuscript genealogy by Juan de Mena, the poet laureate and historiographer of John II.

    The origin of the name Cervantes is curious. Nuno Alfonso was almost as distinguished in the struggle against the Moors in the reign of Alfonso VII as the Cid had been half a century before in that of Alfonso VI, and was rewarded by divers grants of land in the neighbourhood of Toledo. On one of his acquisitions, about two leagues from the city, he built himself a castle which he called Cervatos, because he was lord of the solar of Cervatos in the Montana, as the mountain region extending from the Basque Provinces to Leon was always called. At his death in battle in 1143, the castle passed by his will to his son Alfonso Munio, who, as territorial or local surnames were then coming into vogue in place of the simple patronymic, took the additional name of Cervatos. His eldest son Pedro succeeded him in the possession of the castle, and followed his example in adopting the name, an assumption at which the younger son, Gonzalo, seems to have taken umbrage.

    Everyone who has paid even a flying visit to Toledo will remember the ruined castle that crowns the hill above the spot where the bridge of Alcantara spans the gorge of the Tagus, and with its broken outline and crumbling walls makes such an admirable pendant to the square solid Alcazar towering over the city roofs on the opposite side. It was built, or as some say restored, by Alfonso VI shortly after his occupation of Toledo in 1085, and called by him San Servando after a Spanish martyr, a name subsequently modified into San Servan (in which form it appears in the Poem of the Cid), San Servantes, and San Cervantes: with regard to which last the Handbook for Spain warns its readers against the supposition that it has anything to do with the author of Don Quixote. Ford, as all know who have taken him for a companion and counsellor on the roads of Spain, is seldom wrong in matters of literature or history. In this instance, however, he is in error. It has everything to do with the author of Don Quixote, for it is in fact these old walls that have given to Spain the name she is proudest of to-day. Gonzalo, above mentioned, it may be readily conceived, did not relish the appropriation by his brother of a name to which he himself had an equal right, for though nominally taken from the castle, it was in reality derived from the ancient territorial possession of the family, and as a set-off, and to distinguish himself (diferenciarse) from his brother, he took as a surname the name of the castle on the bank of the Tagus, in the building of which, according to a family tradition, his great-grandfather had a share.

    Both brothers founded families. The Cervantes branch had more tenacity; it sent offshoots in various directions, Andalusia, Estremadura, Galicia, and Portugal, and produced a goodly line of men distinguished in the service of Church and State. Gonzalo himself, and apparently a son of his, followed Ferdinand III in the great campaign of 1236-48 that gave Cordova and Seville to Christian Spain and penned up the Moors in the kingdom of Granada, and his descendants intermarried with some of the noblest families of the Peninsula and numbered among them soldiers, magistrates, and Church dignitaries, including at least two cardinal-archbishops.

    Of the line that settled in Andalusia, Deigo de Cervantes, Commander of the Order of Santiago, married Juana Avellaneda, daughter of Juan Arias de Saavedra, and had several sons, of whom one was Gonzalo Gomez, Corregidor of Jerez and ancestor of the Mexican and Columbian branches of the family; and another, Juan, whose son Rodrigo married Dona Leonor de Cortinas, and by her had four children, Rodrigo, Andrea, Luisa, and Miguel, our author.

    The pedigree of Cervantes is not without its bearing on Don Quixote. A man who could look back upon an ancestry of genuine knights-errant extending from well-nigh the time of Pelayo to the siege of Granada was likely to have a strong feeling on the subject of the sham chivalry of the romances. It gives a point, too, to what he says in more than one place about families that have once been great and have tapered away until they have come to nothing, like a pyramid. It was the case of his own.

    He was born at Alcala de Henares and baptised in the church of Santa Maria Mayor on the 9th of October, 1547. Of his boyhood and youth we know nothing, unless it be from the glimpse he gives us in the preface to his Comedies of himself as a boy looking on with delight while Lope de Rueda and his company set up their rude plank stage in the plaza and acted the rustic farces which he himself afterwards took as the model of his interludes. This first glimpse, however, is a significant one, for it shows the early development of that love of the drama which exercised such an influence on his life and seems to have grown stronger as he grew older, and of which this very preface, written only a few months before his death, is such a striking proof. He gives us to understand, too, that he was a great reader in his youth; but of this no assurance was needed, for the First Part of Don Quixote alone proves a vast amount of miscellaneous reading, romances of chivalry, ballads, popular poetry, chronicles, for which he had no time or opportunity except in the first twenty years of his life; and his misquotations and mistakes in matters of detail are always, it may be noticed, those of a man recalling the reading of his boyhood.

    Other things besides the drama were in their infancy when Cervantes was a boy. The period of his boyhood was in every way a transition period for Spain. The old chivalrous Spain had passed away. The new Spain was the mightiest power the world had seen since the Roman Empire and it had not yet been called upon to pay the price of its greatness. By the policy of Ferdinand and Ximenez the sovereign had been made absolute, and the Church and Inquisition adroitly adjusted to keep him so. The nobles, who had always resisted absolutism as strenuously as they had fought the Moors, had been divested of all political power, a like fate had befallen the cities, the free constitutions of Castile and Aragon had been swept away, and the only function that remained to the Cortes was that of granting money at the King's dictation.

    The transition extended to literature. Men who, like Garcilaso de la Vega and Diego Hurtado de Mendoza, followed the Italian wars, had brought back from Italy the products of the post-Renaissance literature, which took root and flourished and even threatened to extinguish the native growths. Damon and Thyrsis, Phyllis and Chloe had been fairly naturalised in Spain, together with all the devices of pastoral poetry for investing with an air of novelty the idea of a dispairing shepherd and inflexible shepherdess. As a set-off against this, the old historical and traditional ballads, and the true pastorals, the songs and ballads of peasant life, were being collected assiduously and printed in the cancioneros that succeeded one another with increasing rapidity. But the most notable consequence, perhaps, of the spread of printing was the flood of romances of chivalry that had continued to pour from the press ever since Garci Ordonez de Montalvo had resuscitated Amadis of Gaul at the beginning of the century.

    For a youth fond of reading, solid or light, there could have been no better spot in Spain than Alcala de Henares in the middle of the sixteenth century. It was then a busy, populous university town, something more than the enterprising rival of Salamanca, and altogether a very different place from the melancholy, silent, deserted Alcala the traveller sees now as he goes from Madrid to Saragossa. Theology and medicine may have been the strong points of the university, but the town itself seems to have inclined rather to the humanities and light literature, and as a producer of books Alcala was already beginning to compete with the older presses of Toledo, Burgos, Salamanca and Seville.

    A pendant to the picture Cervantes has given us of his first playgoings might, no doubt, have been often seen in the streets of Alcala at that time; a bright, eager, tawny-haired boy peering into a book-shop where the latest volumes lay open to tempt the public, wondering, it may be, what that little book with the woodcut of the blind beggar and his boy, that called itself Vida de Lazarillo de Tormes, segunda impresion, could be about; or with eyes brimming over with merriment gazing at one of those preposterous portraits of a knight-errant in outrageous panoply and plumes with which the publishers of chivalry romances loved to embellish the title-pages of their folios. If the boy was the father of the man, the sense of the incongruous that was strong at fifty was lively at ten, and some such reflections as these may have been the true genesis of Don Quixote.

    For his more solid education, we are told, he went to Salamanca. But why Rodrigo de Cervantes, who was very poor, should have sent his son to a university a hundred and fifty miles away when he had one at his own door, would be a puzzle, if we had any reason for supposing that he did so. The only evidence is a vague statement by Professor Tomas Gonzalez, that he once saw an old entry of the matriculation of a Miguel de Cervantes. This does not appear to have been ever seen again; but even if it had, and if the date corresponded, it would prove nothing, as there were at least two other Miguels born about the middle of the century; one of them, moreover, a Cervantes Saavedra, a cousin, no doubt, who was a source of great embarrassment to the biographers.

    That he was a student neither at Salamanca nor at Alcala is best proved by his own works. No man drew more largely upon experience than he did, and he has nowhere left a single reminiscence of student life-for the Tia Fingida, if it be his, is not one—nothing, not even a college joke, to show that he remembered days that most men remember best. All that we know positively about his education is that Juan Lopez de Hoyos, a professor of humanities and belles-lettres of some eminence, calls him his dear and beloved pupil. This was in a little collection of verses by different hands on the death of Isabel de Valois, second queen of Philip II, published by the professor in 1569, to which Cervantes contributed four pieces, including an elegy, and an epitaph in the form of a sonnet. It is only by a rare chance that a Lycidas finds its way into a volume of this sort, and Cervantes was no Milton. His verses are no worse than such things usually are; so much, at least, may be said for them.

    By the time the book appeared he had left Spain, and, as fate ordered it, for twelve years, the most eventful ones of his life. Giulio, afterwards Cardinal, Acquaviva had been sent at the end of 1568 to Philip II by the Pope on a mission, partly of condolence, partly political, and on his return to Rome, which was somewhat brusquely expedited by the King, he took Cervantes with him as his camarero (chamberlain), the office he himself held in the Pope's household. The post would no doubt have led to advancement at the Papal Court had Cervantes retained it, but in the summer of 1570 he resigned it and enlisted as a private soldier in Captain Diego Urbina's company, belonging to Don Miguel de Moncada's regiment, but at that time forming a part of the command of Marc Antony Colonna. What impelled him to this step we know not, whether it was distaste for the career before him, or purely military enthusiasm. It may well have been the latter, for it was a stirring time; the events, however, which led to the alliance between Spain, Venice, and the Pope, against the common enemy, the Porte, and to the victory of the combined fleets at Lepanto, belong rather to the history of Europe than to the life of Cervantes. He was one of those that sailed from Messina, in September 1571, under the command of Don John of Austria; but on the morning of the 7th of October, when the Turkish fleet was sighted, he was lying below ill with fever. At the news that the enemy was in sight he rose, and, in spite of the remonstrances of his comrades and superiors, insisted on taking his post, saying he preferred death in the service of God and the King to health. His galley, the Marquesa, was in the thick of the fight, and before it was over he had received three gunshot wounds, two in the breast and one in the left hand or arm. On the morning after the battle, according to Navarrete, he had an interview with the commander-in-chief, Don John, who was making a personal inspection of the wounded, one result of which was an addition of three crowns to his pay, and another, apparently, the friendship of his general.

    How severely Cervantes was wounded may be inferred from the fact, that with youth, a vigorous frame, and as cheerful and buoyant a temperament as ever invalid had, he was seven months in hospital at Messina before he was discharged. He came out with his left hand permanently disabled; he had lost the use of it, as Mercury told him in the Viaje del Parnaso for the greater glory of the right. This, however, did not absolutely unfit him for service, and in April 1572 he joined Manuel Ponce de Leon's company of Lope de Figueroa's regiment, in which, it seems probable, his brother Rodrigo was serving, and shared in the operations of the next three years, including the capture of the Goletta and Tunis. Taking advantage of the lull which followed the recapture of these places by the Turks, he obtained leave to return to Spain, and sailed from Naples in September 1575 on board the Sun galley, in company with his brother Rodrigo, Pedro Carrillo de Quesada, late Governor of the Goletta, and some others, and furnished with letters from Don John of Austria and the Duke of Sesa, the Viceroy of Sicily, recommending him to the King for the command of a company, on account of his services; a dono infelice as events proved. On the 26th they fell in with a squadron of Algerine galleys, and after a stout resistance were overpowered and carried into Algiers.

    By means of a ransomed fellow-captive the brothers contrived to inform their family of their condition, and the poor people at Alcala at once strove to raise the ransom money, the father disposing of all he possessed, and the two sisters giving up their marriage portions. But Dali Mami had found on Cervantes the letters addressed to the King by Don John and the Duke of Sesa, and, concluding that his prize must be a person of great consequence, when the money came he refused it scornfully as being altogether insufficient. The owner of Rodrigo, however, was more easily satisfied; ransom was accepted in his case, and it was arranged between the brothers that he should return to Spain and procure a vessel in which he was to come back to Algiers and take off Miguel and as many of their comrades as possible. This was not the first attempt to escape that Cervantes had made. Soon after the commencement of his captivity he induced several of his companions to join him in trying to reach Oran, then a Spanish post, on foot; but after the first day's journey, the Moor who had agreed to act as their guide deserted them, and they had no choice but to return. The second attempt was more disastrous. In a garden outside the city on the sea-shore, he constructed, with the help of the gardener, a Spaniard, a hiding-place, to which he brought, one by one, fourteen of his fellow-captives, keeping them there in secrecy for several months, and supplying them with food through a renegade known as El Dorador, the Gilder. How he, a captive himself, contrived to do all this, is one of the mysteries of the story. Wild as the project may appear, it was very nearly successful. The vessel procured by Rodrigo made its appearance off the coast, and under cover of night was proceeding to take off the refugees, when the crew were alarmed by a passing fishing boat, and beat a hasty retreat. On renewing the attempt shortly afterwards, they, or a portion of them at least, were taken prisoners, and just as the poor fellows in the garden were exulting in the thought that in a few moments more freedom would be within their grasp, they found themselves surrounded by Turkish troops, horse and foot. The Dorador had revealed the whole scheme to the Dey Hassan.

    When Cervantes saw what had befallen them, he charged his companions to lay all the blame upon him, and as they were being bound he declared aloud that the whole plot was of his contriving, and that nobody else had any share in it. Brought before the Dey, he said the same. He was threatened with impalement and with torture; and as cutting off ears and noses were playful freaks with the Algerines, it may be conceived what their tortures were like; but nothing could make him swerve from his original statement that he and he alone was responsible. The upshot was that the unhappy gardener was hanged by his master, and the prisoners taken possession of by the Dey, who, however, afterwards restored most of them to their masters, but kept Cervantes, paying Dali Mami 500 crowns for him. He felt, no doubt, that a man of such resource, energy, and daring, was too dangerous a piece of property to be left in private hands; and he had him heavily ironed and lodged in his own prison. If he thought that by these means he could break the spirit or shake the resolution of his prisoner, he was soon undeceived, for Cervantes contrived before long to despatch a letter to the Governor of Oran, entreating him to send him some one that could be trusted, to enable him and three other gentlemen, fellow-captives of his, to make their escape; intending evidently to renew his first attempt with a more trustworthy guide. Unfortunately the Moor who carried the letter was stopped just outside Oran, and the letter being found upon him, he was sent back to Algiers, where by the order of the Dey he was promptly impaled as a warning to others, while Cervantes was condemned to receive two thousand blows of the stick, a number which most likely would have deprived the world of Don Quixote, had not some persons, who they were we know not, interceded on his behalf.

    After this he seems to have been kept in still closer confinement than before, for nearly two years passed before he made another attempt. This time his plan was to purchase, by the aid of a Spanish renegade and two Valencian merchants resident in Algiers, an armed vessel in which he and about sixty of the leading captives were to make their escape; but just as they were about to put it into execution one Doctor Juan Blanco de Paz, an ecclesiastic and a compatriot, informed the Dey of the plot. Cervantes by force of character, by his self-devotion, by his untiring energy and his exertions to lighten the lot of his companions in misery, had endeared himself to all, and become the leading spirit in the captive colony, and, incredible as it may seem, jealousy of his influence and the esteem in which he was held, moved this man to compass his destruction by a cruel death. The merchants finding that the Dey knew all, and fearing that Cervantes under torture might make disclosures that would imperil their own lives, tried to persuade him to slip away on board a vessel that was on the point of sailing for Spain; but he told them they had nothing to fear, for no tortures would make him compromise anybody, and he went at once and gave himself up to the Dey.

    As before, the Dey tried to force him to name his accomplices. Everything was made ready for his immediate execution; the halter was put round his neck and his hands tied behind him, but all that could be got from him was that he himself, with the help of four gentlemen who had since left Algiers, had arranged the whole, and that the sixty who were to accompany him were not to know anything of it until the last moment. Finding he could make nothing of him, the Dey sent him back to prison more heavily ironed than before.

    The poverty-stricken Cervantes family had been all this time trying once more to raise the ransom money, and at last a sum of three hundred ducats was got together and entrusted to the Redemptorist Father Juan Gil, who was about to sail for Algiers. The Dey, however, demanded more than double the sum offered, and as his term of office had expired and he was about to sail for Constantinople, taking all his slaves with him, the case of Cervantes was critical. He was already on board heavily ironed, when the Dey at length agreed to reduce his demand by one-half, and Father Gil by borrowing was able to make up the amount, and on September 19, 1580, after a captivity of five years all but a week, Cervantes was at last set free. Before long he discovered that Blanco de Paz, who claimed to be an officer of the Inquisition, was now concocting on false evidence a charge of misconduct to be brought against him on his return to Spain. To checkmate him Cervantes drew up a series of twenty-five questions, covering the whole period of his captivity, upon which he requested Father Gil to take the depositions of credible witnesses before a notary. Eleven witnesses taken from among the principal captives in Algiers deposed to all the facts above stated and to a great deal more besides. There is something touching in the admiration, love, and gratitude we see struggling to find expression in the formal language of the notary, as they testify one after another to the good deeds of Cervantes, how he comforted and helped the weak-hearted, how he kept up their drooping courage, how he shared his poor purse with this deponent, and how in him this deponent found father and mother.

    On his return to Spain he found his old regiment about to march for Portugal to support Philip's claim to the crown, and utterly penniless now, had no choice but to rejoin it. He was in the expeditions to the Azores in 1582 and the following year, and on the conclusion of the war returned to Spain in the autumn of 1583, bringing with him the manuscript of his pastoral romance, the Galatea, and probably also, to judge by internal evidence, that of the first portion of Persiles and Sigismunda. He also brought back with him, his biographers assert, an infant daughter, the offspring of an amour, as some of them with great circumstantiality inform us, with a Lisbon lady of noble birth, whose name, however, as well as that of the street she lived in, they omit to mention. The sole foundation for all this is that in 1605 there certainly was living in the family of Cervantes a Dona Isabel de Saavedra, who is described in an official document as his natural daughter, and then twenty years of age.

    With his crippled left hand promotion in the army was hopeless, now that Don John was dead and he had no one to press his claims and services, and for a man drawing on to forty life in the ranks was a dismal prospect; he had already a certain reputation as a poet; he made up his mind, therefore, to cast his lot with literature, and for a first venture committed his Galatea to the press. It was published, as Salva y Mallen shows conclusively, at Alcala, his own birth-place, in 1585 and no doubt helped to make his name more widely known, but certainly did not do him much good in any other way.

    While it was going through the press, he married Dona Catalina de Palacios Salazar y Vozmediano, a lady of Esquivias near Madrid, and apparently a friend of the family, who brought him a fortune which may possibly have served to keep the wolf from the door, but if so, that was all. The drama had by this time outgrown market-place stages and strolling companies, and with his old love for it he naturally turned to it for a congenial employment. In about three years he wrote twenty or thirty plays, which he tells us were performed without any throwing of cucumbers or other missiles, and ran their course without any hisses, outcries, or disturbance. In other words, his plays were not bad enough to be hissed off the stage, but not good enough to hold their own upon it. Only two of them have been preserved, but as they happen to be two of the seven or eight he mentions with complacency, we may assume they are favourable specimens, and no one who reads the Numancia and the Trato de Argel will feel any surprise that they failed as acting dramas. Whatever merits they may have, whatever occasional they may show, they are, as regards construction, incurably clumsy. How completely they failed is manifest from the fact that with all his sanguine temperament and indomitable perseverance he was unable to maintain the struggle to gain a livelihood as a dramatist for more than three years; nor was the rising popularity of Lope the cause, as is often said, notwithstanding his own words to the contrary. When Lope began to write for the stage is uncertain, but it was certainly after Cervantes went to Seville.

    Among the Nuevos Documentos printed by Senor Asensio y Toledo is one dated 1592, and curiously characteristic of Cervantes. It is an agreement with one Rodrigo Osorio, a manager, who was to accept six comedies at fifty ducats (about 6l.) apiece, not to be paid in any case unless it appeared on representation that the said comedy was one of the best that had ever been represented in Spain. The test does not seem to have been ever applied; perhaps it was sufficiently apparent to Rodrigo Osorio that the comedies were not among the best that had ever been represented. Among the correspondence of Cervantes there might have been found, no doubt, more than one letter like that we see in the Rake's Progress, Sir, I have read your play, and it will not doo.

    He was more successful in a literary contest at Saragossa in 1595 in honour of the canonisation of St. Jacinto, when his composition won the first prize, three silver spoons. The year before this he had been appointed a collector of revenues for the kingdom of Granada. In order to remit the money he had collected more conveniently to the treasury, he entrusted it to a merchant, who failed and absconded; and as the bankrupt's assets were insufficient to cover the whole, he was sent to prison at Seville in September 1597. The balance against him, however, was a small one, about 26l., and on giving security for it he was released at the end of the year.

    It was as he journeyed from town to town collecting the king's taxes, that he noted down those bits of inn and wayside life and character that abound in the pages of Don Quixote: the Benedictine monks with spectacles and sunshades, mounted on their tall mules; the strollers in costume bound for the next village; the barber with his basin on his head, on his way to bleed a patient; the recruit with his breeches in his bundle, tramping along the road singing; the reapers gathered in the venta gateway listening to Felixmarte of Hircania read out to them; and those little Hogarthian touches that he so well knew how to bring in, the ox-tail hanging up with the landlord's comb stuck in it, the wine-skins at the bed-head, and those notable examples of hostelry art, Helen going off in high spirits on Paris's arm, and Dido on the tower dropping tears as big as walnuts. Nay, it may well be that on those journeys into remote regions he came across now and then a

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