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is of considerable literary merit. However, in his introduction to The Portable Cervantes, Samuel Putnam, a noted translator of Cervantes' novel, calls Avellaneda's version "one of the most disgraceful performances in history".

The second half of Cervantes' Don Quixote, finished as a direct result of the Avellaneda book, has come to be regarded by most literary critics as being far superior to the first, because of its greater depth of characterization, its discussions, mostly between Quixote and Sancho, on random subjects, and its philosophical insights.

Editions in translation

There are many translations of the book, and it has been adapted many times in shortened versions. Many derivative editions were also being written at the time, as was the custom of envious or unscrupulous writers. Seven years after the Parte Primera appeared, Don Quixote had been translated into French, German, Italian, and English. (first French translation of 'Part II' (1618), first English translation (1620).) One abridged adaptation is authored by Agustín Sánchez, which runs slightly over 150 pages, cutting away about 750 pages.

The elusive Thomas Shelton's English translation of the First Part appeared in 1612. Some claim Shelton was actually a friend of Cervantes, although there is no credible evidence to support this claim. Although Shelton's version has been a cherished translation, according to John Ormsby and Samuel Putnam respectively, it was far from satisfactory as a carrying over of Cervantes's text. Shelton's translation of the novel's Second Part appeared in 1620.

Near the end of the 17th century, John Phillips, a nephew of poet John Milton, published what is considered by Putnam the worst English translated version. The translation, as literary critics claim, was not based on Cervantes' text but mostly upon a French work by Filleau de Saint-Martin and upon notes which Thomas Shelton had written previously. Around 1700, a version by Pierre Antoine Motteux appeared. As stated by translator John Ormsby, this version was "worse than worthless". The prevailing slapstick quality of this work, especially where Sancho Panza is involved, the obtrusion of the obscene where it is found in the original, and the slurring of difficulties through omissions or expanding upon the text all made the Motteux version irresponsible. In 1742, the Charles Jervas translation appeared, posthumously. Through a printer's error, it came to be known, and is still known, as "the Jarvis translation". The most scholarly and accurate English translation of the novel up to that time, it has been criticized by some as being too stiff. Nevertheless, it became the most frequently reprinted translation of the novel until about 1885. Another 18th century translation into English was that of Tobias Smollett, himself a novelist. Like the Jarvis translation, it continues to be reprinted today.

Most modern translators take as their model the 1885 translation by John Ormsby. It is said that his translation was the most honest of all translations, without expansions upon the text nor changing of the proverbs. The most widely read English-language translations of the mid-20th century are by Samuel Putnam (1949), J. M. Cohen (1950; Penguin Classics), and Walter Starkie (1957). The last English translation of the novel in the 20th century was by Burton Raffel, published in 1996. The 21st century has already seen two new translations of the novel into English — by John Rutherford, and by Edith Grossman. One New York Times reviewer called Grossman's translation a "major literary achievement" and another called it the "most transparent and least impeded among more than a dozen English translations going back to the 17th century."

Cultural legacy

Don Quixote is often nominated as one of the world's greatest works of fiction. Don Quixote's importance in literature has produced a large and varied cultural and artistic legacy. Many artists have drawn inspiration either directly or indirectly from Cervantes' work, including the painter Honoré Daumier, the composers Richard Strauss and Gara Garayev, the writer Henry Fielding, the novelist Milan Kundera and the filmmaker Terry Gilliam.

The cultural legacy of Don Quixote is one of the richest and most varied of any work of fiction ever produced. It stands in a unique position between medieval chivalric romance and the modern novel. The former consist of disconnected stories with little exploration of the inner life of even the main character. The latter are usually focused on the psychological evolution of their characters. In Part I, Quixote imposes himself on his environment. By Part II, people know about him through "having read his adventures," and so, he needs to do less to maintain his image. By his deathbed, he has regained his sanity, and is once more "Alonso Quixano the Good".

The novel contains many minor literary "firsts" for European literature—a woman complaining of her menopause, someone with an eating disorder, and the psychological revealing of their troubles as something inner to themselves.

Subtle touches regarding perspective are everywhere: characters talk about a woman who is the cause of the death of a suitor, portraying her as evil, but when she comes on stage, she gives a different perspective entirely that makes Quixote (and thus the reader) defend her. When Quixote descends into a cave, Cervantes admits that he does not know what went on there.

Quixote's adventures tend to involve situations in which he attempts to apply a knight's sure, simple morality to situations in which much more complex issues are at hand. For example, upon seeing a band of galley slaves being mistreated by their guards, he believes their cries of innocence and attacks the guards. After they are freed, he demands that they honor his lady Dulcinea, but instead they pelt him with stones and leave.

Different ages have tended to read different things into the novel. When it was first published, it was usually interpreted as a comic novel. After the French Revolution it was popular in part due to its central ethic that individuals can be right while society is quite wrong and seen as disenchanting—not comic at all. In the 19th century it was seen as a social commentary, but no one could easily tell "whose side Cervantes was on." By the 20th century it had come to occupy a canonical space as one of the foundations of modern literature.

The novel was recently voted The Greatest Book of All Time by the Nobel Institute.

The novel is also responsible for the adjective quixotic, which alludes to behavior that is noble in an absurd way, or the desire to perform acts of chivalry in a radically impractical manner.

Influences upon literature and literary theory

The novel's landmark status in literary history has meant it has had a rich and varied influence over later writers, from Cervantes' own lifetime to the present-day. Some leading examples of Don Quixote's influence include: