some intention of bringing Dulcinea, or
Aldonza Lorenzo, on the scene in person. It was probably the ransacking
of the Don's library and the discussion on the books of chivalry that
first suggested it to him that his idea was capable of development. What,
if instead of a mere string of farcical misadventures, he were to make
his tale a burlesque of one of these books, caricaturing their style,
incidents, and spirit?

In pursuance of this change of plan, he hastily and somewhat clumsily
divided what he had written into chapters on the model of "Amadis,"
invented the fable of a mysterious Arabic manuscript, and set up Cide
Hamete Benengeli in imitation of the almost invariable practice of the
chivalry-romance authors, who were fond of tracing their books to some
recondite source. In working out the new ideas, he soon found the value
of Sancho Panza. Indeed, the keynote, not only to Sancho's part, but to
the whole book, is struck in the first words Sancho utters when he
announces his intention of taking his ass with him. "About the ass," we
are told, "Don Quixote hesitated a little, trying whether he could call
to mind any knight-errant taking with him an esquire mounted on ass-back;
but no instance occurred to his memory." We can see the whole scene at a
glance, the stolid unconsciousness of Sancho and the perplexity of his
master, upon whose perception the incongruity has just forced itself.
This is Sancho's mission throughout the book; he is an unconscious
Mephistopheles, always unwittingly making mockery of his master's
aspirations, always exposing the fallacy of his ideas by some
unintentional ad absurdum, always bringing him back to the world of fact
and commonplace by force of sheer stolidity.

By the time Cervantes had got his volume of novels off his hands, and
summoned up resolution enough to set about the Second Part in earnest,
the case was very much altered. Don Quixote and Sancho Panza had not
merely found favour, but had already become, what they have never since
ceased to be, veritable entities to the popular imagination. There was no
occasion for him now to interpolate extraneous matter; nay, his readers
told him plainly that what they wanted of him was more Don Quixote and
more Sancho Panza, and not novels, tales, or digressions. To himself,
too, his creations had become realities, and he had become proud of them,
especially of Sancho. He began the Second Part, therefore, under very
different conditions,