{'fraction_non_alphanumeric': 0.016728624535315983, 'fraction_numerical': 0.0037174721189591076, 'mean_word_length': 5.016759776536313, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
DON QUIJOTE AS MAGUS: THE RHETORIC OF INTERPOLATION

The radical shifts of taste concerning the interpolated tales in Part One of Don Quijote are indicative of a failure in Cervantine criticism. The well-known autocritical comments in the opening sections of Part Two reveal that initial opinion was negative, although this fact alone could not have forced Cervantes to change the structure of the second part. By 1808, it has been noted that Friedrich Schlegel found in the patterning of the interpolations an archetypal instance of Great Wit, the supreme accolade of the German Romantics. The subsequent shift away from Romantic principles, however, again eroded Cervantes' reputation as a narrative craftsman, and the general development of the novel in the nineteenth century further alienated public and critical tastes. The novel for the realists became a genre based on a different principle of narrative unity from what is found in Part One. Concomitantly Part Two enjoyed greater esteem since the so-called interpolations were incorporated into the totality in a m...