Nine editions of the First Part of "Don Quixote" had already appeared
before Cervantes died, thirty thousand copies in all, according to his
own estimate, and a tenth was printed at Barcelona the year after his
death. So large a number naturally supplied the demand for some time, but
by 1634 it appears to have been exhausted; and from that time down to the
present day the stream of editions has continued to flow rapidly and
regularly. The translations show still more clearly in what request the
book has been from the very outset. In seven years from the completion of
the work it had been translated into the four leading languages of
Europe. Except the Bible, in fact, no book has been so widely diffused as
"Don Quixote." The "Imitatio Christi" may have been translated into as
many different languages, and perhaps "Robinson Crusoe" and the "Vicar of
Wakefield" into nearly as many, but in multiplicity of translations and
editions "Don Quixote" leaves them all far behind.
Still more remarkable is the character of this wide diffusion. "Don
Quixote" has been thoroughly naturalised among people whose ideas about
knight-errantry, if they had any at all, were of the vaguest, who had
never seen or heard of a book of chivalry, who could not possibly feel
the humour of the burlesque or sympathise with the author's purpose.
Another curious fact is that this, the most cosmopolitan book in the
world, is one of the most intensely national. "Manon Lescaut" is not more
thoroughly French, "Tom Jones" not more English, "Rob Roy" not 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.