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