All this supposition of derivation from _Don Quixote_ is, however, so far as verbal indebtedness goes, or indebtedness for _motifs_, episodes, incidents and their sequence, characters, machinery, dramatic construction, manners, sentiments, and methods of satire, a phantom caught out of the clear sky. So far as the satire upon the contemporary literature of chivalry is concerned, when the ridicule is not of English stuff unknown to Cervantes it is of Spanish material translated into English and already satirized by Englishmen before Cervantes wrote his _Don Quixote_. An examination of _The Knight_ and of the _Don_ in any version, and of contemporary English literature, reveals incontestibly not only that the material satirized, the phrases and ideas, come from works in English, but that even the method of the satire is derived from that of preceding English dramatic burlesque rather than from that of Cervantes. The title of the play was suggested by _The Knight of the Burning Sword_, an English translation, current long before 1607, of the Spanish _Amadis of Greece, Prince and Knight of the Burning Sword_. Ten full years before 1607 Falstaff had dubbed his red-nosed Bardolph "Knight of the Burning Lamp." The farcical, but eminently sane, grocer's apprentice, turned Knight for fun, grows out of Heywood's _Foure Prentises_, and Day and Wilkins's _Travails_, and the English _Palmerins_, etc. He has absolutely nothing in common with the glorious but pathetically unbalanced _Don_ of Cervantes. Nor is there any resemblance between Ralph's Palmerin-born Squire and Dwarf--and that embodiment of commonsense, Sancho Panza.[211] The specific conception of _The Knight of the Burning Pestle_, a satire upon the craze of London tradesmen for romances of chivalry, for "bunches of Ballads and Songs, all ancient," for the bombast and sensationalism of Kyd's _Spanish Tragedy_, Marlowe's _True Tragedy of Richard, Duke of York_, even of Shakespeare's Hotspur, and of dramas of bourgeois knight-errantry,--a burlesque of the civic domestic virtues and military prowess of prentices and shop-keepers,--is much more applicable to the conditions and aspirations of contemporary Bow-Bells and the affectations of the contemporary stage than to those which begot and nourished the madness of the Knight of La Mancha.