In the novel Don Quixote and Sancho Pansa speak. Their dialogue is loaded with their irrefutable truths that protect you with no less zeal than other characters. But unlike the language of other characters, the language of Don Quixote and Sancho Pansa is full of countless absurdities and extravagance. The tone of their talks is the same, that is, sounding plausible but burdened with an extra solemnity, that solemnity that is discredited by the comic comments of the author, following the stupid demon in his conscious mind. The difference in tone is felt only by the ear of the highly intelligent pre-prepared narrative reader. For, at first glance, the two protagonists in the Cervantes novel speak the language of everyone in Spain.

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Only the patient reader, who wonders the entire work, will discover that it encompasses the life and the mores of the whole of Spain, where the knight and his armory are wandering. He will notice that, although they are serious in general only about unreal things, the two Cervantes heroes have very accurate observations about the life in their native country, they are able to make solid arguments and lead entertaining but instructive discussions, talk as usual about the characters of a realistic novel. So the paradox is that the two bearers of the world of madness can hardly be regarded as mentally disorganized people, like aimlessly wandering madmen, devoid of landmarks lying in romantic clouds. We need to look at the struggle between Cervantes' realistic genius and his temper as a robber hero, drunk by chimeras and stared at the parables of the past. On the one hand, his realistic genius is endowed with a delightful imagination. The writer Cervantes himself realizes that he has been given a very rich imagination and has come down with him in his poem "Journey to / Parnassus." There he declared himself a "rare composer, whose ingenuity surpasses all his fellow crew members."

He praised his imagination that he could achieve "the most impossible things." His fantasy is always available, fruity, inexhaustible and tireless. In his comedies and intermedia, his imagination ranks among hardcore logical whims and harsh "courtesies" common to the fairs. In the strange godly comedy "The Happy Tree" it is poorly developed, but in the patriotic tragedy, "Nuhmania" rises to beautiful, spiraling, finds. Because if the impossible is the heroism of all impossible things, heroism is predestined to be the most important problem for Cervantes's imagination. Since he can no longer realize heroism in his life, he decides to build it through his imagination in his work. And he imagines him in the plan of irony as a foolish dream. Don Quixote will manifest it in a phantasmagorical world that replaces the real world with a decree of fantasy in the first century of Modern Times. The miracle is that in this persistent and persistent transposition of heroism into the world of imagination, the proportions, dimensions, structure and revival of the real world are preserved. In it, one truth is constructed, one moral is established, and the man rediscovering himself. This imaginary world is lit by a primordial virtue - charity, that is, man's love for things, animals, nature and people. It is not of compassion, but of love, of true evangelical affection, manifested by the gesture of the poor Maritoness who brings the pitcher water of the cruelly humiliated Sancho, and the human attitude of the Knight and the Ark of the Knight. This charity is accompanied by a no less Christian feeling like a sense of justice. Who are these chained people? These are the princes of the king: "How then are the princes of the king? Is it possible for the king to practice violence on somebody? Justice, human dignity, and freedom - here we are touching with many supernatural things / principles / and the unusually sensitive soul of Don Quixote wondering how they can be overpowered. That sounds scandalous.

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