This latter half of Don Quixote is a contradiction of the proverb Cervantes cites in it,--that second parts were never yet good for much. It is, in fact, better than the first. It shows more freedom and vigor; and if the caricature is sometimes pushed to the very verge of what is permitted, the invention, the style of thought, and, indeed, the materials throughout, are richer, and the finish is more exact. The character of Samson Carrasco, for instance,[189] is a very happy, though somewhat bold, addition to the original persons of the drama; and the adventures at the castle of the Duke and Duchess, where Don Quixote is fooled to the top of his bent; the managements of Sancho as governor of his island; the visions and dreams of the cave of Montesinos; the scenes with Roque Guinart, the freebooter, and with Gines de Passamonte, the galley-slave and puppet-show man; together with the mock-heroic hospitalities of Don Antonio Moreno at Barcelona, and the final defeat of the knight there, are all admirable. In truth, every thing in this Second Part, especially its general outline and tone, show that time and a degree of success he had not before known had ripened and perfected the strong manly sense and sure insight into human nature which are visible everywhere in the works of Cervantes, and which here become a part, as it were, of his peculiar genius, whose foundations had been laid, dark and deep, amidst the trials and sufferings of his various life. [189] Don Quixote, Parte II. c. 4. The style of both parts of the genuine Don Quixote is, as might be anticipated, free, fresh, and careless;--genial, like the author’s character, full of idiomatic beauties, and by no means without blemishes. Garcés, in his “Fuerza y Vigor de la Lengua Castellana,” Tom. II., Prólogo, as well as throughout that excellent work, has given it, perhaps, more uniform praise than it deserves;--while Clemencin, in his notes, is very rigorous and unpardoning to its occasional defects.