nothing whatever of Spain. To them a venta conveyed no idea but the
abstract one of a roadside inn, and they could not therefore do full
justice to the humour of Don Quixote's misconception in taking it for a
castle, or perceive the remoteness of all its realities from his ideal.
But even when better informed they seem to have no apprehension of the
full force of the discrepancy. Take, for instance, Gustave Dore's drawing
of Don Quixote watching his armour in the inn-yard. Whether or not the
Venta de Quesada on the Seville road is, as tradition maintains, the inn
described in "Don Quixote," beyond all question it was just such an
inn-yard as the one behind it that Cervantes had in his mind's eye, and
it was on just such a rude stone trough as that beside the primitive
draw-well in the corner that he meant Don Quixote to deposit his armour.
Gustave Dore makes it an elaborate fountain such as no arriero ever
watered his mules at in the corral of any venta in Spain, and thereby
entirely misses the point aimed at by Cervantes. It is the mean, prosaic,
commonplace character of all the surroundings and circumstances that
gives a significance to Don Quixote's vigil and the ceremony that
follows.

Cervantes' humour is for the most part of that broader and simpler sort,
the strength of which lies in the perception of the incongruous. It is
the incongruity of Sancho in all his ways, words, and works, with the
ideas and aims of his master, quite as much as the wonderful vitality and
truth to nature of the character, that makes him the most humorous
creation in the whole range of fiction. That unsmiling gravity of which
Cervantes was the first great master, "Cervantes' serious air," which
sits naturally on Swift alone, perhaps, of later humourists, is essential
to this kind of humour, and here again Cervantes has suffered at the
hands of his interpreters. Nothing, unless indeed the coarse buffoonery
of Phillips, could be more out of place in an attempt to represent