Don Quixote's fame is a fundamental theme of the novel. Rather than the fame he desires as a traditional type of hero, he achieves, ironically, fame as a character in an incredibly successful novel. He becomes the prototype of a new, modern, democratic hero, thanks to Cervantes' implanting in him -and in Sancho- a recognizable vitality that keeps on living in new and different artistic forms.
Un libro, el objeto físico -un ejemplar de la edición príncipe de la primera parte de Don Quijote, por ejemplo- puede ser tocado, visto, dibujado, fotografiado, tallado, pero ¿cómo representar el complejísimo proceso de creación artística del que surgió, y el resultado inefable de ese proceso? Me aprovecho de la nueva ciencia del caos para sugerir una respuesta a estas preguntas, dándole textura e identidad física a Don Quijote, para así poder ver el espíritu perenne de la obra de Cervantes.
Features of the dispute over the identity of the barber's basin characterize it as a both static and action-oriented type ofentremés. Specific affinities link it with «El retablo de las maravillas». Structural similarities arise from a common pattern of dramatic development. Three motifs are central to both works: the relationship between drama and life, the perspectivism of human experience, and the importance of class distinctions.
Camacho's identity is based on display of wealth, by means of which he attempts to persuade and control the onlookers. However, as seen in the differing reactions of Don Quijote and Sancho, his technique is not successful with everyone.
In the Greek novel, oral first-person narratives delay the main plot. Cervantes uses them for different aesthetic purposes. They allow the introduction of an appraisal of the work, break up the main plot, and introduce themes alien to the literary tradition. Finally, first-person narratives also add color to the novel, explore different points of view, and individualize the characters. In sum, they expand the borders of fiction.