{
  "id": "don-quixote",
  "title": "Don Quixote",
  "lang": "en",
  "source_lang": "en",
  "summary": "Miguel de Cervantes’s two-part Spanish novel about a self-appointed knight and his squire, central to the development of modern fiction.",
  "category": "arts",
  "subcategory": "literature",
  "type": "work",
  "aliases": [
    "Don Quijote",
    "Don Quijote de la Mancha",
    "Don Quixote de la Mancha",
    "The Ingenious Gentleman Don Quixote of La Mancha"
  ],
  "generated_at": "2026-10-13",
  "model": "pro/gpt-6.1-sol",
  "url": "https://aiwiki.page/en/don-quixote/",
  "translations": {
    "zh-Hans": {
      "url": "https://aiwiki.page/zh/don-quixote/",
      "json": "https://aiwiki.page/zh/don-quixote.json"
    }
  },
  "sections": [
    {
      "heading": "",
      "text": "Don Quixote is a Spanish novel by Miguel de Cervantes, published in two parts in 1605 and 1615. It follows a country gentleman who, absorbed in books of chivalry, adopts the identity of Don Quixote and sets out to revive knight-errantry. Accompanied on most of his adventures by the farmer Sancho Panza, his squire, he repeatedly interprets ordinary people and objects through the conventions of heroic romance. Their encounters combine physical comedy, social observation, and reflection on the relationship between imagined worlds and everyday experience. (bne.es)\n\nWritten during Spain’s Golden Age, the work transforms a parody of chivalric literature into an exploration of storytelling, identity, judgment, and the effects of reading. Its contrasting voices, developing characters, and fictional apparatus of historians, manuscripts, and translators have made it a foundational work in accounts of the modern novel, although the designation “first modern novel” is a critical judgment rather than an uncontested historical category. The second part further complicates the relationship between fiction and reality by introducing characters who have read the first part. (cvc.cervantes.es)\n\nThe novel’s history encompasses early commercial success, a rival continuation published under the name Alonso Fernández de Avellaneda, extensive translation, and changing traditions of literary criticism. Its characters and episodes have also circulated through illustration, music, theatre, and other adaptations, often acquiring meanings distinct from those of Cervantes’s text. (cervantes.bne.es)"
    },
    {
      "heading": "Cervantes and the World of the Novel",
      "text": "Miguel de Cervantes (1547–1616) belonged to the Spanish Golden Age, but his formative experiences preceded the seventeenth-century publication of Don Quixote. His education, Mediterranean military service, and early administrative employment took place under Philip II; the novel’s two parts appeared in 1605 and 1615 under Philip III, who succeeded his father in 1598. This distinction places the work across a generational transition rather than within a single reign. The Spain behind it was also a composite monarchy, not a uniform administrative state: Castile, the territories of the Crown of Aragon, and other constituent kingdoms retained different laws and institutions. The novel’s predominantly Castilian rural setting therefore represents only part of the larger political world Cervantes knew. (cvc.cervantes.es)\n\nSocial rank in this world depended on legal privilege and lineage as well as wealth. Nobility and clergy constituted privileged estates, notably exempt from certain direct personal taxes, while commoners bore those obligations. Don Quixote is a hidalgo, a member of the lower nobility whose status does not imply substantial resources: the opening chapter specifies his modest household, ordinary diet, and expenditure on clothing. Sancho’s position as a poor farmer places him within a different social estate, but their relationship also exposes competing expectations about service. Sancho seeks wages, whereas his master imagines a squire rewarded through favors and grants. The distinction dramatizes, rather than simply documents, the coexistence of monetary employment and older forms of personal dependence. (cvc.cervantes.es)\n\nThe parish priest, roadside innkeepers, and the duke and duchess occupy further, distinct positions within this social landscape. The priest connects village life with clerical authority and learned culture; inns bring travelers, muleteers, servants, and local officials into temporary contact. Aristocratic households, by contrast, command the servants and resources needed to arrange elaborate entertainments for the protagonists. Such encounters are literary constructions, not a representative survey of Spanish society. Their historical relevance lies in recognizable differences of status, occupation, and household dependence, while individual behavior remains shaped by the novel’s comedy and its particular situations. (cvc.cervantes.es)\n\nThe journeys begin in La Mancha, with the Campo de Montiel explicitly named early in the narrative. El Toboso supplies Dulcinea’s geographical identity, while Sierra Morena provides the mountainous setting for a substantial sequence in Part One. The later journey reaches Barcelona, extending the action beyond the inland villages and roads into a Mediterranean city. Yet the protagonist’s home village remains unnamed. The opening narrator declines to identify it, and the final chapter attributes the omission to the fictional historian Cide Hamete Benengeli, so that different Manchegan towns may compete to claim the hero, like the cities claiming Homer. The withholding is thus an explicit narrative device, not an invitation to treat a reconstructed itinerary as an established historical route. (cvc.cervantes.es)\n\nCervantes’s documented experience helps explain the breadth of this world without making the novel an autobiography. On 7 October 1571 he fought aboard the Marquesa at Lepanto, receiving wounds that left his left hand disabled. Captured by corsairs while returning to Spain in September 1575, he spent five years in Algiers before his ransom in 1580. From 1587 he undertook provisioning commissions in Andalusia, involving grain and oil; in 1594 he received a commission to collect revenues in the kingdom of Granada. Military service, captivity, travel, and dealings with local authorities gave him direct acquaintance with settings and institutions represented in his fiction. Nevertheless, the captive’s story is not a literal account of his imprisonment, and the first-part prologue’s suggestion that the book was conceived in prison does not establish a precise place or date of composition. (cvc.cervantes.es)"
    },
    {
      "heading": "Chivalric Books and Literary Models",
      "text": "The conventions of chivalric romance supply both Don Quixote’s programme of action and the machinery of its parody. A knight adopts a distinguished name, serves an idealized lady, travels in search of quests, defends the oppressed, and earns fame through exceptional feats. In Part One, chapter 1, the protagonist translates these literary requirements into preparations for departure: he repairs ancestral armour, names his horse Rocinante, adds “de la Mancha” to his knightly name in imitation of Amadís de Gaula, and invents Dulcinea as the lady to whom victories will be dedicated. The comic mechanism is not simply the presence of extravagant stories but their application as practical rules. Ordinary surroundings become the material of heroic adventure, while enchantment provides an explanation for discrepancies between expectation and experience. (cvc.cervantes.es)\n\n*Amadís de Gaula*, surviving in Garci Rodríguez de Montalvo’s reworking in an edition of 1508, is a privileged model rather than an indiscriminate object of ridicule. In Part One, chapter 25, Don Quixote treats Amadís as an exemplary knight whose conduct should be imitated, comparing this procedure with artistic imitation of outstanding models. His penitence in Sierra Morena reproduces Amadís’s withdrawal under the name Beltenebros after rejection by Oriana. He also considers Orlando’s frenzy over Angélica in Ludovico Ariosto’s Orlando furioso. The parody exposes the difference between an emotionally motivated action and its deliberate reenactment: Don Quixote proposes demonstrations of madness without an equivalent cause, making imitation itself the achievement. (cvc.cervantes.es)\n\nAdmiration and ridicule likewise coexist in the scrutiny of the library in Part One, chapter 6. The priest initially proposes burning Amadís as the progenitor of a harmful literary family, but the barber secures its preservation on grounds of excellence; its continuation, Las sergas de Esplandián, receives no such exemption. Joanot Martorell’s Tirant lo Blanc, first published in 1490 and translated into Castilian in 1511, is praised because its knights eat, sleep, die in bed, and make wills. Such bodily and domestic particulars distinguish it from conventional heroic invulnerability. Ariosto receives a different commendation: the priest respects his Italian verse while criticizing its Spanish translation. These judgments discriminate among works, styles, and modes of transmission rather than reject everything associated with chivalry. (cvc.cervantes.es)\n\nPastoral fiction constitutes another repertoire available for imitation. The library contains Jorge de Montemayor’s Diana and related works; the niece fears that their reader might become a shepherd and poet instead of a knight. The priest would preserve Montemayor’s prose while removing the enchantress Felicia and her magical water. The Marcela–Grisóstomo episode, especially Part One, chapter 14, brings pastoral songs, shepherd costumes, and idealized rural love into contact with conflicting accounts of desire. Marcela’s refusal to accept responsibility for another person’s love challenges the expectations articulated by her admirers. Pastoral conventions therefore become material for dramatic disagreement rather than merely an idyllic alternative to knight-errantry. (cvc.cervantes.es)\n\nThe novel also engages picaresque narrative, traditional ballads, and oral storytelling. In Part One, chapter 22, Ginés de Pasamonte boasts that his autobiography surpasses Lazarillo de Tormes, then denies that it can be finished while his life continues: the exchange exposes a problem of closure within life-writing. In chapter 5, the battered protagonist interprets his circumstances through ballads about Valdovinos and the Marquis of Mantua. Sancho’s tale in chapter 20 instead exploits a folktale device: three hundred goats must cross a river individually, and the story ends when his listener loses count. These episodes introduce distinct narrative procedures—autobiographical claims, remembered verse, and performance-dependent repetition—into the chivalric framework. (cvc.cervantes.es)\n\nQuestions of literary plausibility become explicit literary criticism in Part One, chapter 47. The canon of Toledo objects to a sixteen-year-old splitting a giant in two, a solitary knight defeating a million opponents, and a tower travelling across the sea. His standard is not that fiction must report actual events, but that invention should remain intelligible and that beginning, middle, and ending should form a proportionate whole. Yet he also recognizes the genre’s capacity to accommodate battles, shipwrecks, eloquence, and varied characters. His proposed reform would preserve imaginative scope while making wonder compatible with plausibility, stylistic coherence, and the combined aims of instruction and pleasure. (cvc.cervantes.es)"
    },
    {
      "heading": "Composition, Publication, and the Rival Continuation",
      "text": "The first part appeared as El ingenioso hidalgo don Quixote de la Mancha. Francisco de Robles, the bookseller-publisher, bought the rights from Miguel de Cervantes and financed the edition; production took place in Madrid at the printing establishment managed by Juan de la Cuesta, formerly Pedro Madrigal’s press. Printing was completed in early December 1604, although the title page bore the date 1605, and sales began in January 1605. The distinction separates the physical production of the book from its dated imprint and commercial release: 1605 is the conventional publication year, not the year in which printing was completed. (bne.es)\n\nReprinting followed rapidly. A second Madrid edition appeared in 1605, alongside editions in Lisbon and Valencia; another Madrid edition followed in 1608. Publication extended to Brussels in 1607 and 1611 and Milan in 1610. Cervantes’s own continuation appeared in Madrid in 1615 as Segunda parte del ingenioso caballero don Quixote de la Mancha, changing the designation hidalgo, a member of the lesser nobility, to caballero, or knight. The title page explicitly identified Cervantes as the author of the first part and again named Robles as bookseller and Cuesta’s establishment as printer. The imprint does not mean that Cuesta personally supervised the second volume: he had left Madrid in 1607, but the workshop continued using his name. The reason for the change from hidalgo to caballero is not securely established. After separate reprints of the continuation, the two parts were first published together in Barcelona in 1617. (bne.es)\n\nBetween the two authorized volumes, a rival continuation appeared in 1614 under the name Alonso Fernández de Avellaneda. Entitled Segundo tomo del ingenioso hidalgo don Quijote de la Mancha, it carried an imprint naming Felipe Roberto in Tarragona; the Biblioteca Nacional de España distinguishes two editions produced under that imprint in the same year. The publication and its precedence over Cervantes’s second part are established, but the identity concealed behind “Avellaneda” remains unresolved. The name should therefore not be treated as a securely identified historical author. Nor does the rival book’s first explicit appearance in chapter 59 of Cervantes’s continuation establish when Cervantes encountered it: that is a point in the fictional sequence, not a dated record of composition. (cervantes.bne.es)\n\nCervantes answered the rival directly in the 1615 prologue. While professing to withhold the abuse readers might expect, he rebutted attacks on his age and disabled hand, invoking the honour of his wounds at Lepanto. He also challenged the writer’s concealment of his name and birthplace and dismissed the threat that the competing volume would reduce his earnings. Two anecdotes about men mistreating dogs turn the dispute into ridicule directed at literary production and imitation. The prologue further announces that this continuation brings Don Quixote to death and burial expressly to prevent anyone from attributing additional adventures to him. (cvc.cervantes.es)\n\nThe response also alters the plot. In chapter 59, Don Quixote encounters readers of Avellaneda’s book and, learning that its protagonist has visited Zaragoza, refuses to go there himself; he chooses Barcelona to demonstrate that the rival account does not describe him. In chapter 72, Cervantes imports Álvaro Tarfe, a character from Avellaneda’s continuation, into his own narrative. Tarfe acknowledges that the Don Quixote and Sancho before him are not the pair he previously knew and makes a formal declaration before a magistrate and notary. The borrowed character thus becomes a witness against the rival protagonists’ identity, allowing Cervantes to contest the competing continuation within the fiction itself. (cvc.cervantes.es)"
    },
    {
      "heading": "The Principal Characters and Their Relationships",
      "text": "Don Quixote’s identity is a deliberate construction rather than simply the protagonist’s given name. In Part One (1605), chapter 1, he is a country gentleman, or hidalgo, approaching fifty, whose surname is variously reported as Quijada, Quesada, or Quijana. After adopting knight-errantry, he cleans ancestral armour and supplies its incomplete helmet with a cardboard visor; when a sword blow destroys his first attempt, he reinforces the replacement without testing it again. Naming completes the transformation: four days produce “Rocinante” for his emaciated horse, and another eight produce “Don Quixote,” to which he adds “de la Mancha,” imitating Amadís de Gaula’s territorial designation. His chosen lady supplies the remaining prerequisite for a knight’s identity. Only at the conclusion of Part Two (1615), chapter 74, does he explicitly reject this role and identify himself as Alonso Quijano the Good. That final name should therefore be distinguished from both the opening uncertainty and the self-created knightly persona. (cvc.cervantes.es)\n\nSancho Panza joins him as a neighbouring agricultural labourer with a wife and children, attracted by the promise of governing an island. His expectations concern household security as well as personal advancement: in Part Two, chapter 5, he tells Teresa Panza that financial necessity and hopes of further earnings draw him away, while separation from his family saddens him. Their discussion of their children’s prospects places his ambitions within a continuing domestic relationship. His verbal resourcefulness—proverbs, improvised explanations, puns, and persuasive arguments—also makes him more than a material-minded counterpart to an idealistic master. Before the duchess, he both acknowledges Don Quixote’s delusions and explains his attachment to him; while anticipating government, he claims compassion for the poor and confidence in detecting fraud. Conversely, Don Quixote’s elevated role is sustained by Sancho’s ordinary labour and cooperation. Their relationship combines unequal service, bargaining, disagreement, and affection rather than a fixed opposition between imagination and common sense. (cvc.cervantes.es)\n\nDulcinea del Toboso is the imagined aristocratic identity bestowed on Aldonza Lorenzo, a peasant woman from El Toboso who, according to the opening account, does not know of the gentleman’s former attraction to her. In Part One, chapter 25, Sancho recognizes Aldonza and describes her physical strength and forceful voice, contrasting sharply with his master’s idealized beauty. Don Quixote responds that her actual lineage is immaterial to the purpose she serves: he imagines her possessing the beauty and rank required by his devotion. Dulcinea consequently has no independent speaking role as the ideal lady. Her presence is mediated through descriptions, messages, purported encounters, and impersonations. Sancho fabricates a report of delivering a letter to her; the duchess later exposes that fabrication, then persuades him that the peasant woman he presented as Dulcinea was genuinely enchanted. The imagined lady thus becomes a means through which other characters influence both knight and squire. (cvc.cervantes.es)\n\nThe household and village acquaintances pursue different methods of bringing Don Quixote home. His niece and housekeeper oppose further departures and help conceal the removal of his library behind a story of enchantment. The priest and barber, already companions in discussions of chivalric heroes, move from examining his books to employing disguises and invented adventures to redirect him. Sansón Carrasco takes this strategy further: with their agreement, he encourages another departure so that he can defeat Don Quixote in disguise and oblige him, under the rules of chivalry, to retire. His first attempt as the Knight of the Mirrors fails; his later victory as the Knight of the White Moon imposes a year’s withdrawal. By contrast, the duke and duchess exploit the protagonists’ expectations for entertainment rather than recovery. Having read their earlier adventures, they use Sancho’s disclosures to construct further deceptions, making the pair participants in elaborate performances whose premises the aristocratic hosts control. (cvc.cervantes.es)"
    },
    {
      "heading": "Part One: The First Two Sallies",
      "text": "The 1605 volume contains 52 chapters, arranged in four internal divisions: chapters 1–8, 9–14, 15–27, and 28–52. These divisions belong to what subsequently became known as Part One, not to the separate continuation published in 1615. The first sally occupies chapters 2–5. Don Quixote departs alone on Rocinante and mistakes an inn for a castle. Its innkeeper improvises a knighting ceremony, reading from an account book and striking him with his own sword, while two women assist. The ceremony ends a vigil during which Don Quixote has attacked muleteers for moving his armor from a watering trough. After further encounters, including an unsuccessful demand that merchants acknowledge Dulcinea’s beauty, he is beaten and left beside the road. A neighboring farmer finds him and carries him home. (cvc.cervantes.es)\n\nThe second departure begins in chapter 7, with Sancho Panza recruited as squire through the promise of an island governorship. Their adventures repeatedly turn ordinary objects into supposed chivalric challenges. In chapter 8, Don Quixote charges windmills identified as giants; a moving sail breaks his lance and throws horse and rider down. In chapter 18, dust raised by two flocks becomes evidence of approaching armies, whose commanders he describes before attacking the sheep and being stoned by shepherds. In chapter 21, he seizes a barber’s brass basin as Mambrino’s legendary helmet. The liberation of prisoners condemned to the galleys in chapter 22 has a different basis: he recognizes their captivity but rejects their forced service. After overpowering their guards, he orders the freed men to present themselves to Dulcinea; they instead stone their liberators and disperse. (cvc.cervantes.es)\n\nBetween these encounters, the narrative accommodates stories with their own speakers and conflicts. Chapters 11–14 introduce the death of Grisóstomo, whose unrequited attachment to Marcela draws accusations against her. At his funeral, Marcela appears and argues that her beauty creates no obligation to return another person’s love; she withdraws, and Don Quixote prohibits anyone from pursuing her. The episode interrupts the traveling adventures with pastoral storytelling, funeral poetry, and a direct defense of Marcela’s independence. (cvc.cervantes.es)\n\nAfter freeing the prisoners, the pair retreat into Sierra Morena. There they encounter Cardenio, whose account of betrayal connects with Dorotea’s story, subsequently heard by the priest and barber. Don Fernando has abandoned Dorotea after promising marriage and sought to marry Luscinda, Cardenio’s beloved. Their histories converge with the effort to retrieve Don Quixote: Dorotea impersonates Princess Micomicona, requesting his assistance against a giant who has usurped her kingdom. This fabricated quest persuades him to abandon his penitential retreat. At the inn, the arrival of Fernando and Luscinda brings the four lovers together; Fernando acknowledges Dorotea’s claim, and Luscinda is reunited with Cardenio. (cvc.cervantes.es)\n\nThe inn also becomes a setting for extended embedded narratives. In chapters 33–35, the priest reads The Curious Impertinent, a manuscript about Anselmo’s insistence that his friend Lotario test his wife Camila’s fidelity. The experiment produces the adultery it was intended to disprove and ends in the destruction of all three lives. Its reading is interrupted when the sleeping Don Quixote slashes wineskins, imagining that he is fighting Micomicona’s giant. In chapters 39–41, the captive recounts his military service, imprisonment in Algiers, and escape with Zoraida, who supplies money and seeks baptism in Christian territory. Unlike the manuscript’s protagonists, the captive and Zoraida are present among the inn’s guests. (cvc.cervantes.es)\n\nThe priest and barber finally arrange Don Quixote’s confinement in a wooden cage on an ox cart, presenting the restraint as enchantment. Sancho questions this explanation, while his master attempts to reconcile the slow, ordinary transport with his chivalric expectations. During the journey, conversations about books and further encounters delay the return. After being injured while attacking a religious procession, Don Quixote accepts transport home. In chapter 52, the cart enters his village at midday on a Sunday; his niece and housekeeper put him to bed, while Sancho returns to his household still anticipating another expedition and eventual advancement. (cvc.cervantes.es)"
    },
    {
      "heading": "Part Two: Fame, Staged Adventures, and the Final Return",
      "text": "The 1615 continuation comprises 74 chapters and begins with a change in the protagonists’ circumstances: their previous adventures now circulate as a printed book. In Chapter 3, Sansón Carrasco tells Don Quixote and Sancho Panza about its popularity, naming episodes familiar to its readers. Fame consequently becomes a condition of their third sally: people they encounter can recognize them and anticipate their behavior from reading Part One. Don Quixote welcomes his reputation but worries about the accuracy and dignity of his portrayal; Sancho discovers that his humiliations have also become public entertainment. (cvc.cervantes.es)\n\nThe supposed enchantment of Dulcinea establishes a continuing problem for this journey. Near El Toboso, Sancho, unable to produce the lady he previously claimed to have visited, identifies one of three passing peasant women as Dulcinea. Don Quixote sees an ordinary countrywoman rather than the idealized lady Sancho describes, and attributes the discrepancy to hostile enchantment (Chapter 10). In Chapter 17, he orders a keeper transporting lions to open their cage so that he can confront them. The male lion declines to emerge, but Don Quixote treats his willingness to face it as sufficient proof of courage and adopts the name Knight of the Lions. (cvc.cervantes.es)\n\nOther adventures make the status of what Don Quixote experiences increasingly uncertain. Lowered into the Cave of Montesinos in Chapters 22–23, he subsequently describes meeting enchanted figures from chivalric legend and seeing Dulcinea still transformed into a peasant woman. He claims to have spent three days below, although his companions reckon the interval at little more than an hour. Master Pedro’s puppet theatre produces a different confusion in Chapter 26: watching the escape of Gaiferos and Melisendra from their pursuers, Don Quixote intervenes with his sword and demolishes the puppets. What begins as spectatorship becomes a rescue attempt, leaving the performer’s property destroyed. (cvc.cervantes.es)\n\nThe duke and duchess, who know the printed history, turn the protagonists’ expectations into elaborate entertainments. Their household supplies costumes, performers, and machinery for adventures designed specifically for their guests. A staged appearance of Merlin declares that Dulcinea’s disenchantment requires Sancho to administer 3,300 lashes to himself. In Chapter 41, Don Quixote and Sancho ride Clavileño, a wooden horse supposedly capable of flight, while blindfolded; servants simulate movement through the air with bellows and heat, before fireworks bring the performance to an end. Sancho’s promised governorship likewise becomes a controlled experiment. Barataria is a settlement presented to him as an island, where he judges disputes with unexpected resourcefulness but suffers restrictive meals and a fabricated nocturnal invasion. Exhausted by the assault, he resigns in Chapter 53 rather than retain authority on these terms. (cvc.cervantes.es)\n\nAfter leaving the ducal household, the travelers abandon their intended visit to Zaragoza when they learn that Avellaneda’s rival continuation has already taken its version of Don Quixote there. They instead proceed toward Barcelona, making their itinerary a rejection of that competing account. The decisive encounter occurs on the city’s beach in Chapter 64: the Knight of the White Moon defeats Don Quixote and requires him to return home and refrain from knight-errantry for one year. The victor is Sansón Carrasco, whose earlier attempt, disguised as the Knight of the Mirrors, had failed. Carrasco explains that he has used the knight’s commitment to chivalric rules to compel his withdrawal. Don Quixote accepts the stipulated retirement without conceding that another lady surpasses Dulcinea. (cvc.cervantes.es)\n\nBack in his village, Don Quixote falls ill. In Chapter 74, after a prolonged sleep, he declares that his judgment has returned, repudiates the books of chivalry, and identifies himself as Alonso Quijano, known as the Good. Sancho urges him not to die and proposes that they become shepherds, preserving the possibility of another shared life through a different literary model. Alonso instead confesses and dictates his will, providing for Sancho and his niece. His death is formally recorded, and the closing passage insists that his adventures have ended, explicitly denying another continuation the opportunity to send him out again. (cvc.cervantes.es)"
    },
    {
      "heading": "Narrators, Language, and Fictional Authority",
      "text": "The novel distributes narrative authority among several fictional intermediaries rather than presenting an uninterrupted account by Cervantes. In Part One, chapter 8, the fight with the Biscayan stops with both swords raised because the available written account has run out. Chapter 9 introduces a narrator acting as reader and editor, who discovers Arabic papers for sale in Toledo’s Alcaná market. A Spanish-speaking Morisco identifies their author as Cide Hamete Benengeli, an Arabic historian, and agrees to translate them for two arrobas of raisins and two fanegas of wheat. The translation supposedly takes a little over six weeks. These details give the invented source a material history: manuscript, purchase, commission, and transmission. Cide Hamete, the translator, and the editorial narrator are textual roles created by Cervantes, not interchangeable names for the historical author. (cvc.cervantes.es)\n\nThe apparatus borrows the chivalric convention of a history preserved by a learned chronicler, but turns authentication into irony. The opening narrator acknowledges competing accounts of the protagonist’s surname; the discovered manuscript adds marginal commentary and an illustration rather than simply settling every uncertainty. Its annotation about Dulcinea’s skill at salting pork contradicts the elevated language surrounding the knight’s imagined lady. In Part Two, chapter 5, the translator questions the chapter’s authenticity because Sancho speaks with an unexpectedly sophisticated style, yet translates it nevertheless. Thus editorial doubts themselves become part of the transmitted story. The interruptions require readers to distinguish what allegedly happened from what a chronicler recorded, a translator accepted, or an editor inferred: documentary detail creates the appearance of evidence without establishing an unquestionable source. (cvc.cervantes.es)\n\nDifferences in language similarly prevent any single voice from dominating the novel. Don Quixote’s archaizing vocabulary and ceremonious formulas imitate chivalric literature, while ordinary encounters repeatedly expose their distance from everyday speech. Sancho draws on colloquial expressions and the proverbs of oral tradition, sometimes assembling sayings whose inherited authority exceeds their relevance to the immediate situation. Neither character remains confined to one register: Don Quixote can speak with lucid, learned eloquence, and Sancho can develop elaborate arguments. Their interaction also changes their speech. In Part Two, chapter 43, Don Quixote teaches Sancho to replace the ordinary regoldar with the Latinate erutar, both meaning “to belch.” He then rebukes Sancho’s excessive proverbs while himself using a proverbial expression. Linguistic correction therefore becomes reciprocal comedy rather than a stable contrast between educated master and inarticulate servant. (cvc.cervantes.es)\n\nMetafiction becomes especially explicit in the 1615 continuation. In Part Two, chapter 3, Sansón Carrasco reports the circulation of the earlier history, and the protagonists discuss how their actions have been represented in print. They become critics of a book in which they are characters, while their published reputations influence subsequent encounters. Chapter 62 makes literary production physically visible during the Barcelona printing-house visit: Don Quixote observes typesetting, printing, and correction, discusses translation and publishing profits, and encounters proofs of the rival continuation. The scene connects claims about truthful representation to the commercial and technical processes of printing, rather than treating a published book as transparent testimony. (cvc.cervantes.es)\n\nAvellaneda’s continuation also becomes an object—and eventually a source of characters—inside Cervantes’s fiction. In Part Two, chapter 72, Don Quixote recognizes Álvaro Tarfe as a figure from the rival book. Tarfe confirms that Cervantes’s knight and squire differ from the pair he previously knew and subsequently makes a formal declaration before a local official and notary. The episode appropriates a witness from the competing fictional world to dispute that world’s authority. Its legal form supplies another simulated guarantee of truth: one invented character authenticates others through an invented documentary proceeding. (cvc.cervantes.es)"
    },
    {
      "heading": "Themes, Comedy, and Ethical Questions",
      "text": "Conflicting interpretations produce both adventure and irony, but the novel distinguishes imaginative transformation from deliberate deception and unresolved uncertainty. In Part One (1605), chapter 8, Sancho identifies windmills by their mechanical function, whereas Don Quixote sees giants requiring combat. After his defeat, the knight attributes their changed appearance to the enchanter Frestón: contrary evidence becomes another explanation within his chivalric worldview rather than grounds for abandoning it. In Part Two (1615), chapter 10, the mechanism reverses. Sancho knowingly presents a peasant woman as Dulcinea; Don Quixote sees an ordinary countrywoman but accepts enchantment as the explanation for the discrepancy. The reader therefore knows more than the deceived knight. By contrast, the Cave of Montesinos account in II.23 is explicitly marked as doubtful, leaving uncertainty about what Don Quixote experienced rather than simply identifying an ordinary object beneath a mistaken description. (cvc.cervantes.es)\n\nThe difference between benevolent intention and effective assistance is especially sharp in the Andrés episode. In I.4, Don Quixote interrupts a farmer’s beating of his young servant and orders payment of withheld wages, but leaves the boy with the employer whose promise he has accepted. When Andrés returns in I.31, he reports that the intervention provoked a more severe beating and asks the knight never to help him again. The victim’s testimony overturns Don Quixote’s presentation of the incident as a successful rescue. The liberation of the galley prisoners in I.22 raises a related but different question: the knight treats compulsory service as sufficient reason to intervene against legally constituted authority. Having freed the prisoners, however, he demands that they carry their chain to Dulcinea as proof of his achievement. Their refusal and attack expose the contradiction between granting freedom and prescribing how its recipients must express gratitude. Read together, these episodes question judgment, accountability, and coercion without making either official punishment or knightly intervention automatically just. (cvc.cervantes.es)\n\nLove likewise becomes a dispute over whose desires create obligations. At Grisóstomo’s funeral in I.14, Marcela rejects the claim that her beauty makes her responsible for reciprocating affection or for the suffering of rejected admirers. She distinguishes being attractive from consenting to love and defends her chosen solitary life; Don Quixote subsequently forbids the men to pursue her. Dorotea’s appeal to Don Fernando in I.36 seeks a different outcome. Rather than rejecting marriage, she insists that his prior commitment binds him despite their unequal social positions, presenting recognition as the restoration of an obligation he has abandoned. Dulcinea offers a contrasting model of devotion: in I.25, Don Quixote acknowledges Aldonza Lorenzo’s identity while explaining that he imagines his lady according to the beauty and rank required by his ideal. These scenes juxtapose a woman’s stated choice, a claim upon an existing promise, and an ideal constructed by the lover himself. (cvc.cervantes.es)\n\nBodily comedy repeatedly subjects heroic pretensions to pain and dependence. In I.17, Sancho’s blanket-tossing turns his body into communal entertainment, while Don Quixote’s unsuccessful attempt to assist him exposes the limits of knightly protection. Aristocratic amusement makes humiliation more deliberately organized: after the staged resurrection of Altisidora, Sancho complains in II.70 about the pinpricks, pinches, and affronts inflicted upon him. In the same chapter, Cide Hamete judges the duke and duchess nearly as foolish as the people they ridicule because they devote such effort to mocking them. Laughter thus does not establish a secure hierarchy between rational spectators and irrational victims; the conduct of the mockers itself becomes an object of criticism. (cvc.cervantes.es)\n\nFriendship complicates both deception and ridicule. Sancho’s manipulation of the Dulcinea encounter coexists with his attempts to encourage a distressed master, while their conversation after the windmill disaster combines correction with practical care for the injured knight. At the deathbed in II.74, Sancho urges Alonso Quijano to live and proposes that they become shepherds, extending companionship through another imagined role even as Quijano renounces chivalric fiction. Reason and unreason are represented through changing speech, belief, and relationships, not through a consistent opposition between a sensible squire and a deluded master: the companion who recognizes mistakes can also sustain invention, while the knight who misinterprets events can defend Marcela’s freedom. (cvc.cervantes.es)"
    },
    {
      "heading": "Critical Reception and Influence on Fiction",
      "text": "Seventeenth-century readers chiefly valued Don Quixote as ingenious comic entertainment and satire against chivalric books. This reception did not imply indifference: Anthony Close documents both its popular familiarity and praise from writers including Tirso de Molina and Quevedo. Sancho’s lament over his lost donkey became a recognizable comic reference, while Sancho and the animal appeared in public festivities at Utrera and Baeza in 1618. Early appreciation nevertheless differed from later interpretations that made the knight a philosophical or national symbol. The qualities most readily celebrated were Cervantes’s invention, wit, elegance, and capacity to provoke laughter. (cvc.cervantes.es)\n\nAround 1800, German Romanticism redirected attention toward the protagonist’s idealism and the novel’s symbolic structure. Friedrich Wilhelm Joseph Schelling interpreted the work as a conflict between the ideal and the real: the knight’s aspirations encounter a world that frustrates, reflects, and degrades them. Such readings made his perseverance potentially admirable even when his judgments remained mistaken, and treated the novel as more than an attack on obsolete literary conventions. Comic and idealist interpretations, however, did not simply succeed one another. Romantic criticism could acknowledge the protagonist’s ridiculousness, while later historically oriented critics continued to recover the satire and comic expectations of Cervantes’s first readers. The disagreement concerns the relative weight of these elements rather than the existence of only one permissible response. (cvc.cervantes.es)\n\nThree Spanish landmarks established contrasting approaches within twentieth-century literary criticism. Miguel de Unamuno’s Life of Don Quixote and Sancho (Vida de don Quijote y Sancho, 1905) recreated the knight as a heroic embodiment of faith and spiritual striving, granting the character significance independent of Cervantes’s intentions. José Ortega y Gasset’s Meditations on Quixote (Meditaciones del Quijote, 1914) shifted attention from the isolated hero to Cervantes’s style and the organization of the fictional world, emphasizing perspective and the relationship between epic aspiration and ordinary reality. Américo Castro’s The Thought of Cervantes (El pensamiento de Cervantes, 1925) instead investigated Cervantes as a deliberate intellectual artist whose works expressed interconnected responses to Renaissance thought. Castro’s treatment of poetry, history, and competing perspectives challenged the image of an instinctive genius writing without coherent artistic reflection. (cvc.cervantes.es)\n\nThe work’s central position in histories of the modern novel rests on a combination of practices rather than an uncontested claim to absolute priority. Fernando Lázaro Carreter places it within an earlier development that included La Celestina, Lazarillo de Tormes, and Guzmán de Alfarache: recognizable surroundings and ordinary social experience increasingly became material for fiction. Cervantes expanded this development through characters who acquire complexity in conversation, speech differentiated by social position and literary habits, and narrators whose authority is open to question. In Part Two, the protagonists’ responses to their already published adventures make representation itself affect subsequent action. Character development, multiple voices, and self-conscious narration thus operate together, rather than constituting separate inventions attributable exclusively to this novel. (cvc.cervantes.es)\n\nEnglish fiction offers explicit evidence of engagement rather than merely retrospective resemblance. Henry Fielding announced on the title page of Joseph Andrews (1742) that it imitated Cervantes’s manner; its travelling characters, encounters across social ranks, and comic testing of benevolent intentions adapt Cervantine procedures to English circumstances. Laurence Sterne’s Tristram Shandy (1759–1767) developed a different inheritance: digression, eccentric but sympathetic characterization, and a narrator who repeatedly exposes the machinery of storytelling. Close identifies Sterne’s novel as an especially consequential response to Cervantes’s playful treatment of fictional illusion. These documented connections do not establish that every later wandering protagonist or intrusive narrator derives directly from Don Quixote. (cervantes.bne.es)\n\nJorge Luis Borges made the novel’s reception itself the subject of “Pierre Menard, Author of the Quixote” (1939). Its fictional writer attempts to produce passages verbally identical to Cervantes’s text without copying them. The narrator nevertheless attributes different meanings to the identical wording because Menard writes in another historical and intellectual setting. Rather than reproducing the knight’s adventures, Borges transforms Don Quixote into an experiment about authorship, interpretation, and the contribution of historical context to literary meaning. (en.wikipedia.org)"
    },
    {
      "heading": "Translations, Editions, and Textual Scholarship",
      "text": "Thomas Shelton’s translation of Part One appeared in London in 1612, printed by William Stansby for Edward Blount and William Barret; the English Part Two followed in 1620, published for Blount and traditionally attributed to Shelton. English transmission belonged to a broader sequence of European translations: César Oudin published the French first part in 1614, François de Rosset the second in 1618, and Lorenzo Franciosini an Italian translation in 1622. French subsequently served as an intermediary for translations into other languages, so international circulation did not always involve direct translation from Spanish. (onlinebooks.library.upenn.edu)\n\nLater English versions offered different balances between verbal fidelity and comic adaptation. Peter Anthony Motteux’s collaborative version began appearing in 1700, followed by Charles Jervas’s posthumous translation in 1742, generally known as “Jarvis,” and Tobias Smollett’s in 1755. Their choices could change the reader’s access to the protagonist’s imagined world. In the first inn episode, Motteux uses “wench” where Jervas preserves “ladies”; Smollett alternates terms including “ladies,” “wenches,” and “high-born damsels.” These distinctions affect whether the diction sustains Don Quixote’s fantasy or anticipates its exposure. John Ormsby’s 1885 version pursued closer correspondence with the Spanish, while his preface advocated ordinary English for much of the narration rather than indiscriminate archaism. Sancho’s proverbial language poses a related problem: replacing a Spanish saying with a familiar English equivalent can preserve conversational force while changing its imagery. (cvc.cervantes.es)\n\nTwentieth- and twenty-first-century translations continued to negotiate historical distance rather than simply replacing older vocabulary. J. M. Cohen’s Penguin translation appeared in 1950; John Rutherford’s followed in 2000, and Edith Grossman’s in 2003. Grossman explicitly rejected treating the entire novel as quaint seventeenth-century speech, explaining that Cervantes’s language was innovative rather than uniformly archaic when written. She nevertheless worked from Martín de Riquer’s annotated Spanish edition, preserving its inconsistencies rather than silently repairing the narrative. The choice of source edition therefore mattered alongside diction: a translation that removes an apparent mistake can obscure a later passage in which Cervantes addresses that mistake. (en.wikipedia.org)\n\nThe Spanish text itself requires textual criticism. Early printing introduced errors through manuscript transcription, typesetting, and adjustments needed to fit passages into predetermined pages. Francisco Rico identifies several hundred readily correctable misprints in the first edition, alongside less certain omissions and substitutions. The disappearance and reappearance of Sancho’s donkey provide the best-known narrative problem: the second Madrid edition of 1605 added two explanatory passages, but one was placed where it failed to resolve the discontinuity. Rico’s Instituto Cervantes edition retains the first edition’s narrative state in the main text and records alternative states in its critical apparatus, rather than constructing an apparently seamless version from incompatible revisions. (cvc.cervantes.es)\n\nScholarly emendation is distinct from modernization. Emendation changes a reading judged corrupt, using other editions, linguistic evidence, or a documented conjecture; modernization updates presentation without necessarily changing the words’ substance. Rico’s edition regularizes obsolete consonantal spellings while retaining historically significant forms such as efeto beside efecto and captivo beside cautivo. Orthography and punctuation cannot simply be assumed to reproduce Cervantes’s manuscript: printers imposed conventions of their own. A critical apparatus makes editorial intervention inspectable by identifying variants and the origins of accepted readings. (cvc.cervantes.es)\n\nDifferent publication formats expose different aspects of the work. Annotated editions explain obsolete vocabulary, literary allusions, and historical references; facsimiles preserve page layout and typographic evidence but do not correct the reproduced text. Rico also cautions that older photographic facsimiles sometimes contain retouching or reproduction defects mistaken for original variants. Abridgments and school selections offer shorter routes through the story, but omissions necessarily alter access to its interwoven narratives and discussions. Digital collections can place these formats alongside one another: the Biblioteca Nacional de España’s Quijote interactivo presents digitized early editions with contextual multimedia, while the Centro Virtual Cervantes provides a readable edited text linked to annotations and textual documentation. (cvc.cervantes.es)"
    },
    {
      "heading": "Adaptations and Cultural Afterlives",
      "text": "Gustave Doré’s illustrations for the 1863 Paris edition published by Hachette established an extensive visual interpretation of the novel: 377 wood engravings, executed by Héliodore Pisan after Doré’s designs, included 120 large narrative illustrations alongside chapter headpieces and tailpieces. Their sequential treatment of adventures differs from images that condense the protagonists into recognizable emblems. (cervantes.library.tamu.edu) Pablo Picasso’s Don Quixote and Sancho, dated August 10, 1955, was made following a request from Pierre Daix for the weekly Les Lettres françaises, which published it on August 18 to commemorate the first part’s 350th anniversary. Its stark contrast between the tall mounted knight and his compact companion offers an identifying image rather than a continuous representation of the narrative. Special offset reproductions subsequently extended its circulation beyond the magazine. (cms1029003.malaga.eu)\n\nThe Petipa–Minkus Don Quixote premiered at Moscow’s Bolshoi Theatre on December 26, 1869, with choreography and a scenario by Marius Petipa and music by Ludwig Minkus; an expanded version followed in Saint Petersburg in 1871. (petipasociety.com) The ballet tradition selectively develops the lovers’ episode into the theatrical courtship of Kitri and Basilio, rather than reproducing the knight’s successive journeys. (operanb.ro) Subsequent revisions changed the balance further: familiar productions emphasize the lovers and their wedding dances, while the knight’s dream of Dulcinea provides a contrasting fantastical setting. These stagings therefore descend from a changing performance tradition, not an unchanged nineteenth-century adaptation. (petipasociety.com)\n\nRichard Strauss’s orchestral Don Quixote, composed in 1897, translates selected adventures into instrumental characterization and variations. The solo cello represents the knight; Sancho’s theme first appears in bass clarinet and tenor tuba before the solo viola assumes his voice. Musical effects distinguish imagined heroism from material events: the windmill encounter ends in a falling harp glissando, the supposed army of sheep produces an orchestral cacophony, and a wind machine accompanies the imaginary aerial journey. (laphil.com) Jules Massenet’s opera Don Quichotte (1910), with Henri Cain’s libretto after Jacques Le Lorrain’s play, reorganizes the material around an embodied Dulcinea, presented as a courtesan. The recovery of her stolen necklace becomes a central quest, alongside the windmills and the knight’s death beside Sancho. The opera thus gives a direct dramatic relationship to a woman whose presence in the novel is largely mediated by others. (operadeparis.fr)\n\n*Man of La Mancha* opened on Broadway on November 22, 1965, with a book by Dale Wasserman, music by Mitch Leigh, and lyrics by Joe Darion. (ibdb.com) Its theatrical mechanism is a play within a play: an imprisoned Cervantes persuades fellow inmates to enact the adventures of Don Quixote. This fictionalized authorial frame distinguishes the musical from a straightforward dramatization of the novel or a documentary account of Cervantes’s life. (playbill.com) Arthur Hiller’s 1972 film adaptation retained that structure, casting Peter O’Toole as both Cervantes and Quixote, James Coco as the manservant and Sancho, and Sophia Loren as Aldonza/Dulcinea. Its immediate source was the stage musical, making it an adaptation of an adaptation. (tcm.com)\n\nIn the English language, “quixotic” characterizes impractical idealism, while “tilting at windmills” means engaging an imagined opponent or threat; these expressions extract particular traits and incidents rather than describing the novel’s full range. (dictionary.cambridge.org) Public sculpture similarly isolates recognizable figures. The Cervantes monument in Madrid’s Plaza de España, commissioned in 1915, places bronze Quixote and Sancho before their seated author; its main structure rose in the 1920s, with Aldonza and Dulcinea added in the 1960s. (esmadrid.com) Educational circulation uses another form of selection: the Biblioteca Nacional de España’s collections document adaptations, compendiums, extracts, and school editions as distinct vehicles through which the work entered classrooms and reached readers outside complete editions. (bne.es)"
    }
  ],
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  ],
  "sources": [
    {
      "title": "La España del Quijote (1 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/dominguez.htm"
    },
    {
      "title": "Don Quijote de la Mancha: Índice",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/indice.htm"
    },
    {
      "title": "La España del Quijote (2 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/dominguez01.htm"
    },
    {
      "title": "La España del Quijote (3 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/dominguez02.htm"
    },
    {
      "title": "Resumen cronológico de la vida de Cervantes",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/resumen/default.htm"
    },
    {
      "title": "Primera parte: Capítulo primero (1 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap01/default.htm"
    },
    {
      "title": "Lugares y tiempos en el Quijote (1 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/apendice/casasayas.htm"
    },
    {
      "title": "Lugares y tiempos en el Quijote (2 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/apendice/casasayas01.htm"
    },
    {
      "title": "Lugares y tiempos en el Quijote (5 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/apendice/casasayas04.htm"
    },
    {
      "title": "Segunda parte: Capítulo LXXIV (2 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap74/cap74_02.htm"
    },
    {
      "title": "Vida y literatura: Cervantes en el Quijote (1 de 6)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/canavaggio.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo primero (2 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap01/cap01_02.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo VI (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap06/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo VI (2 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap06/cap06_02.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo VI (3 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap06/cap06_03.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XXV (1 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap25/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XXV (2 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap25/cap25_02.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XIIII (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap14/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XIIII (2 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap14/cap14_02.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XXII (3 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap22/cap22_03.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo V (1 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap05/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XX (3 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap20/cap20_03.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Segunda parte. Portada.",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/portada/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Segunda parte. Lectura del capítulo LIX.",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap59/nota_cap_59.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Segunda parte. Prólogo al lector.",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/prologo_al_lector/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Segunda parte. Capítulo LIX (3 de 3).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap59/cap59_03.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Segunda parte. Capítulo LXXII (2 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap72/cap72_02.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Segunda parte. Capítulo LXXIIII (1 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap74/"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Primera parte. Capítulo VII (1 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap07/default.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Segunda parte. Capítulo V (1 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap05/default.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Primera parte. Capítulo XXV (4 de 5).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap25/cap25_04.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Segunda parte. Capítulo XXXIII (1 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap33/default.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Segunda parte. Capítulo XXXIII (2 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap33/cap33_02.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Primera parte. Capítulo XXVII (1 de 5).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap27/default.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Segunda parte. Capítulo XV.",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap15/default.htm"
    },
    {
      "title": "CVC. «Don Quijote de la Mancha». Segunda parte. Capítulo LXIIII (1 de 2).",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap64/default.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo III (2 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap03/cap03_02.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo VIII (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap08/default.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo XVIII (1 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap18/default.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo XXI (1 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap21/default.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo XXII (4 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap22/cap22_04.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo XXIX (1 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap29/default.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo XXIX (2 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap29/cap29_02.htm"
    },
    {
      "title": "CVC. Primera parte, capítulo XXXVI (2 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap36/cap36_02.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo III (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap03/default.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo X (2 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap10/cap10_02.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XVII (2 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap17/cap17_02.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XVII (3 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap17/cap17_03.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XXIII (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap23/default.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XXVI (2 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap26/cap26_02.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XXXV (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap35/default.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XLI (2 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap41/cap41_02.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XLI (3 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap41/cap41_03.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo XLV (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap45/default.htm"
    },
    {
      "title": "CVC. Segunda parte. Capítulo LIII (1 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap53/default.htm"
    },
    {
      "title": "El narrador del Quijote y la voz de la novela",
      "url": "https://cvc.cervantes.es/literatura/cervantistas/encuentros/e_2004/e_2004_05.pdf"
    },
    {
      "title": "Estudio preliminar: Las voces del Quijote (1 de 5)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/estudio/default.htm"
    },
    {
      "title": "Don Quijote de la Mancha. Primera parte. Capítulo IX (1 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap09/default.htm"
    },
    {
      "title": "Don Quijote de la Mancha. Segunda parte. Capítulo XLIII (1 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap43/default.htm"
    },
    {
      "title": "Don Quijote de la Mancha. Segunda parte. Capítulo LXII (4 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap62/cap62_04.htm"
    },
    {
      "title": "Don Quijote de la Mancha. Segunda parte. Capítulo LXXII (1 de 2)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap72/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Segunda parte. Capítulo X (1 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte2/cap10/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo IIII (2 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap04/cap04_02.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XXXI (3 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap31/cap31_03.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XXII (1 de 4)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap22/default.htm"
    },
    {
      "title": "CVC. Don Quijote de la Mancha. Primera parte. Capítulo XVII (3 de 3)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/edicion/parte1/cap17/cap17_03.htm"
    },
    {
      "title": "Las interpretaciones del Quijote (2 de 6)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/close_a01.htm"
    },
    {
      "title": "Las interpretaciones del Quijote (3 de 6)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/close_a02.htm"
    },
    {
      "title": "El español en el mundo. Anuario del Instituto Cervantes 2015",
      "url": "https://cvc.cervantes.es/lengua/anuario/anuario_15/canavaggio/p01.htm"
    },
    {
      "title": "Las interpretaciones del Quijote (1 de 6)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/close_a.htm"
    },
    {
      "title": "Las interpretaciones del Quijote (5 de 6)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/close_a04.htm"
    },
    {
      "title": "List of works influenced by Don Quixote",
      "url": "https://en.wikipedia.org/wiki/List_of_works_influenced_by_Don_Quixote"
    },
    {
      "title": "Pierre Menard, Author of the Quixote",
      "url": "https://en.wikipedia.org/wiki/Pierre_Menard%2C_Author_of_the_Quixote"
    },
    {
      "title": "Variaciones Borges: study discussing “Pierre Menard, Author of Don Quixote”",
      "url": "https://www.borges.pitt.edu/sites/default/files/0709.pdf"
    },
    {
      "title": "La imagen de don Quijote en las traducciones inglesas del siglo XVIII",
      "url": "https://cvc.cervantes.es/literatura/cervantistas/encuentros/e_2004/e_2004_20.pdf"
    },
    {
      "title": "John Ormsby (translator)",
      "url": "https://en.wikipedia.org/wiki/John_Ormsby_%28translator%29"
    },
    {
      "title": "Translator’s Preface",
      "url": "https://gwpress.manifoldapp.org/read/don-quixote/section/8f03fb1f-1059-4901-835c-27781a719507"
    },
    {
      "title": "Don Quixote",
      "url": "https://en.wikipedia.org/wiki/Don_Quixote"
    },
    {
      "title": "J. M. Cohen",
      "url": "https://en.wikipedia.org/wiki/J._M._Cohen"
    },
    {
      "title": "Don Quixote: Penguin Books sample",
      "url": "https://assets-us-01.kc-usercontent.com/c7bb3f89-eb78-007e-971a-d5864cf7a236/7aac4894-997d-42e4-b86e-1abc4b4cd674/Don-Quixote-Pgs.-25-41.pdf"
    },
    {
      "title": "Grossman Takes on El Quixote",
      "url": "https://www.publishersweekly.com/pw/by-topic/authors/interviews/article/38645-grossman-takes-on-el-quixote.html"
    },
    {
      "title": "Historia del texto (1 de 11)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/rico.htm"
    },
    {
      "title": "Historia del texto (2 de 11)",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/prologo/rico01.htm"
    },
    {
      "title": "La presente edición: Texto crítico",
      "url": "https://cvc.cervantes.es/literatura/clasicos/quijote/introduccion/presente_edicion/txtcritico.htm"
    },
    {
      "title": "Iconography of Don Quixote",
      "url": "https://cervantes.library.tamu.edu/dqiDisplayInterface/doSearchEditions.jsp?freeText=&ftFields=publisher&ftMode=phrase&languages=All&libraries=all&orderBy=1&page=24&places=All&sizes=all&volumes=all&year1=1500&year2=2100"
    },
    {
      "title": "“Don Quijote y Sancho”, dibujo de 1955.",
      "url": "https://cms1029003.malaga.eu/export/sites/fpicasso/.galleries/Para-saber-mas/1_Don_Quijote_y_Sancho_Es.pdf"
    },
    {
      "title": "Don Quixote — The Marius Petipa Society",
      "url": "https://petipasociety.com/don-quixote/"
    },
    {
      "title": "Don Quixote — Opera Națională București",
      "url": "https://operanb.ro/spectacol/don-quixote/?lang=en"
    },
    {
      "title": "Don Quixote — LA Phil",
      "url": "https://www.laphil.com/works/don-quixote"
    },
    {
      "title": "Don Quichotte — Opéra national de Paris",
      "url": "https://www.operadeparis.fr/en/season-23-24/opera/don-quichotte"
    },
    {
      "title": "Don Quichotte — Opera from the Paris Opera",
      "url": "https://play.operadeparis.fr/en/p/don-quichotte-opera"
    },
    {
      "title": "Man of La Mancha (Broadway, ANTA Washington Square Theatre, 1965)",
      "url": "https://playbill.com/production/man-of-la-mancha-anta-washington-square-theatre-vault-0000005795"
    },
    {
      "title": "Man of La Mancha — TCM",
      "url": "https://www.tcm.com/articles/161053/man-of-la-mancha"
    },
    {
      "title": "Quixotic — Cambridge English Dictionary",
      "url": "https://dictionary.cambridge.org/us/dictionary/english/quixotic"
    },
    {
      "title": "American Heritage Dictionary Entry: tilt at windmills",
      "url": "https://www.ahdictionary.com/word/search.html?q=tilt+at+windmills"
    }
  ],
  "license": "https://creativecommons.org/licenses/by/4.0/"
}