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The novel's structure is in episodic form. It is a humorous novel in the picaresco style of the late sixteenth century. The full title is indicative of the tale's object, as ingenioso (Span.) is to be quick with inventiveness.[2] Although the novel is farcical, the second half is serious and philosophical about the theme of deception. Quixote has served as an important thematic source not only in literature but in much of later art and music, such as works by Pablo Picasso and Richard Strauss. The contrasts between the tall, thin, fancy-struck, and idealistic Quixote and the fat, squat, world-weary Panza is a motif echoed ever since the book’s publication, and Don Quixote's imaginings are the butt of outrageous and cruel practical jokes in the novel. Even faithful and simple Sancho is unintentionally forced to deceive him at certain points. The novel is considered a satire of orthodoxy, truth, veracity, and even nationalism. In going beyond mere storytelling to exploring the individualism of his characters, Cervantes helped move beyond the narrow literary conventions of the chivalric romance literature that he spoofed, which consists of straightforward retelling of a series of acts that redound to the knightly virtues of the hero.

Farce makes use of punning and similar verbal playfulness. Character-naming in Don Quixote makes ample figural use of contradiction, inversion, and irony, such as the names Rocinante[3] (a reversal) and Dulcinea (an allusion to illusion), and the word quixote[4] itself, possibly a pun on quijada (jaw) but certainly cuixot (Catalan: thighs), a reference to a horse's rump.[5]

The world of ordinary people, from sheepherders to tavern-owners and inn-keepers, which figures in Don Quixote was groundbreaking. The character Don Quixote became so well-known in its time that the word quixotic was quickly calqued into many languages. Characters such as Sancho Panza and Don Quixote’s steed, Rocinante, are emblems of Western literary culture. The phrase "tilting at windmills" to describe an act of futility similarly derives from an iconic scene in the book.

Because of its widespread influence, Don Quixote also helped cement the modern Spanish language. The opening sentence of the book created a classic cliché of Spanish language in the phrase de cuyo nombre no quiero acordarme, "whose name I do not care to recall."

En un lugar de la Mancha, de cuyo nombre no quiero acordarme, no ha mucho tiempo que vivía un hidalgo de los de lanza en astillero, adarga antigua, rocín flaco y galgo corredor.

"In a village in La Mancha (whose name I do not care to recall) there lived, not very long ago, one of those gentlemen who keep a lance in the lance-rack, an ancient shield, a skinny old horse, and a fast greyhound."[6]