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The novel is a satirical work, based in no small part on the glorification of knights and knightly virtues, orthodoxy, nationalism and national pride, aristocracy, and ultimately meaning in life. While the first half of the work reads as almost pure farce, the second half explores the more deep and psychological questions of meaning in life, place in the world, self-identity and self-fulfillment, societal roles, and in no small measure, [[madness]] itself.

The novel is a satirical work, based in no small part on the glorification of knights and knightly virtues, orthodoxy, nationalism and national pride, aristocracy, and ultimately meaning in life. While the first half of the work reads as almost pure farce, the second half explores the more deep and psychological questions of meaning in life, place in the world, self-identity and self-fulfillment, societal roles, and in no small measure, [[madness]] itself.

Its protagonist is a minor aristocrat who has read rather rather too many books of [[chivalry]] and imagines himself a knight battling supernatural and mythological beings in a mundane environment where they simply do not exist. He is aided by a faithful squire named Sancho Panza, who has sincere respect for his master, and believes that he will be richly rewarded for his faithful service. However, all other characters in the book are able to see Don Quixote for what he is - a deluded and rather pathetic middle-aged man.

The novel's protagonist is a minor aristocrat who has read rather rather too many books of [[chivalry]] and imagines himself a knight battling supernatural and mythological beings in a mundane environment where they simply do not exist. He is aided by a faithful squire named Sancho Panza, who has sincere respect for his master, and believes that he will be richly rewarded for his faithful service. However, all other characters in the book are able to see Don Quixote for what he is - a deluded and rather pathetic middle-aged man.

Other key characters are Rocinante, Don Quixote's horse; Dulcinea de Toboso, the lady whom Don Quixote claims to serve in the chivalric tradition (although she is eventually revealed to be an uncouth peasant girl whom he barely knows); and Cide Hamete Benengeli, a [[Muslim|Moorish]] writer whom Cervantes claims originally wrote the story, his version being a translation from the [[Arabic]].

Other key characters are Rocinante, Don Quixote's horse; Dulcinea de Toboso, the lady whom Don Quixote claims to serve in the chivalric tradition (although she is eventually revealed to be an uncouth peasant girl whom he barely knows); and Cide Hamete Benengeli, a [[Muslim|Moorish]] writer whom Cervantes claims originally wrote the story, his version being a translation from the [[Arabic]].

The humor derives from Don Quixote's ability to contort everything he sees to a demented world view based on silly books - however it is a measure of Cervantes' skill as an author that we come to sympathize with Don Quixote more than those who mock him, as much as the latter may be correct.

The humor derives from Don Quixote's ability to contort everything he sees to a demented world view based on silly books - however it is a measure of Cervantes' skill as an author that we come to sympathize with Don Quixote more than those who mock him, as much as the latter may be correct.

Don Quixote's modernity lies partly in its self-referential and intertextual nature. The impetus for the story comes from other works of fiction, whose conventions Cervantes adopts and subverts for satirical effect. In part II of the book, these tricks are increased, as Quixote meets people who already know of his doings from having read part I, and also pokes fun at an 'unofficial' part II that had circulated between the publication of the first and second parts. These kinds of literary tricks were new at the time of writing, and proved to be enormously influential; examples include [[Tristram Shandy]] and countless 'post-modern' writers of the 20th century.

Don Quixote's modernity lies partly in its self-referential and intertextual nature. The impetus for the story comes from other works of fiction, whose conventions Cervantes adopts and subverts for satirical effect. In part II of the book, these tricks are increased, as Quixote meets people who already know of his doings from having read part I, and also pokes fun at an 'unofficial' part II that had circulated between the publication of the first and second parts. These kinds of literary tricks were new at the time of writing, and proved to be enormously influential; examples include [[Tristram Shandy]] and countless 'post-modern' writers of the 20th century.

The episode most often remembered by readers of Don Quixote is the instance when he attacks several windmills, thinking that they are giants. The phrase 'tilting at windmills' has come to describe anyone who engages in a futile endeavour.

The episode most often remembered by readers of Don Quixote is the instance when he attacks several windmills, thinking that they are giants. The phrase 'tilting at windmills' has come to describe anyone who engages in a futile endeavour.