more
Scotch, than "Don Quixote" is Spanish, in character, in ideas, in
sentiment, in local colour, in everything. What, then, is the secret of
this unparalleled popularity, increasing year by year for well-nigh three
centuries? One explanation, no doubt, is that of all the books in the
world, "Don Quixote" is the most catholic. There is something in it for
every sort of reader, young or old, sage or simple, high or low. As
Cervantes himself says with a touch of pride, "It is thumbed and read and
got by heart by people of all sorts; the children turn its leaves, the
young people read it, the grown men understand it, the old folk praise
it."

But it would be idle to deny that the ingredient which, more than its
humour, or its wisdom, or the fertility of invention or knowledge of
human nature it displays, has insured its success with the multitude, is
the vein of farce that runs through it. It was the attack upon the sheep,
the battle with the wine-skins, Mambrino's helmet, the balsam of
Fierabras, Don Quixote knocked over by the sails of the windmill, Sancho
tossed in the blanket, the mishaps and misadventures of master and man,
that were originally the great attraction, and perhaps are so still to
some extent with the majority of readers. It is plain that "Don Quixote"
was generally regarded at first, and indeed in Spain for a long time, as
little more than a queer droll book, full of laughable incidents and
absurd situations, very amusing, but not entitled to much consideration
or care. All the editions printed in Spain from 1637 to 1771, when the
famous printer Ibarra took it up, were mere trade editions, badly and
carelessly printed on vile paper and got up in the style of chap-books
intended only for popular use, with, in most instances, uncouth
illustrations and clap-trap additions by the publisher.

To England belongs the credit of having been the first country to
recognise the right of "Don Quixote" to better treatment than this. The
London edition of 1738, commonly called Lord Carteret's from having been
suggested by him, was not a mere edition de luxe. It produced "Don
Quixote" in becoming form as regards paper and type, and embellished with
plates which, if not particularly happy as illustrations, were at least
well intentioned and well executed, but it also aimed at correctness of
text, a matter to which nobody except the editors of the Valencia and
Brussels editions had given even a passing thought; and for