n waiting. It is worth noticing how, flushed by his success in
this instance, he is tempted afterwards to try a flight beyond his powers
in his account of the journey on Clavileno.

In the Second Part it is the spirit rather than the incidents of the
chivalry romances that is the subject of the burlesque. Enchantments of
the sort travestied in those of Dulcinea and the Trifaldi and the cave of
Montesinos play a leading part in the later and inferior romances, and
another distinguishing feature is caricatured in Don Quixote's blind
adoration of Dulcinea. In the romances of chivalry love is either a mere
animalism or a fantastic idolatry. Only a coarse-minded man would care to
make merry with the former, but to one of Cervantes' humour the latter
was naturally an attractive subject for ridicule. Like everything else in
these romances, it is a gross exaggeration of the real sentiment of
chivalry, but its peculiar extravagance is probably due to the influence
of those masters of hyperbole, the Provencal poets. When a troubadour
professed his readiness to obey his lady in all things, he made it
incumbent upon the next comer, if he wished to avoid the imputation of
tameness and commonplace, to declare himself the slave of her will, which
the next was compelled to cap by some still stronger declaration; and so
expressions of devotion went on rising one above the other like biddings
at an auction, and a conventional language of gallantry and theory of
love came into being that in time permeated the literature of Southern
Europe, and bore fruit, in one direction in the transcendental worship of
Beatrice and Laura, and in another in the grotesque idolatry which found
exponents in writers like Feliciano de Silva. This is what Cervantes
deals with in Don Quixote's passion for Dulcinea, and in no instance has
he carried out the burlesque more happily. By keeping Dulcinea in the
background, and making her a vague shadowy being of whose very existence
we are left in doubt, he invests Don Quixote's worship of her virtues and
charms with an additional extravagance, and gives still more point to the
caricature of the sentiment and language of the romances.

One of the great merits of "Don Quixote," and one of the qualities that
have secured its acceptance by all classes of readers and made it the
most cosmopolitan of books, is its simplicity. There are, of course,
points obvious enough to a Spanish seventeenth century audience which do
n