present subject is this point, that the latter (the allegory) cannot be
other than spoken consciously;--whereas in the former (the symbol) it
is very possible that the general truth represented may be working
unconsciously in the writer's mind during the construction of the
symbol;--and it proves itself by being produced out of his own mind,--as
the Don Quixote out of the perfectly sane mind of Cervantes, and not by
outward observation, or historically. The advantage of symbolical
writing over allegory is, that it presumes no disjunction of faculties,
but simple predominance.

II. Madness may be divided as--

1. hypochondriasis; or, the man is out of his senses.

2. derangement of the understanding; or, the man is out of his wits.

3. loss of reason.

4. frenzy, or derangement of the sensations.

Cervantes's own preface to Don Quixote is a perfect model of the gentle,
every where intelligible, irony in the best essays of the Tatler and the
Spectator. Equally natural and easy, Cervantes is more spirited than
Addison; whilst he blends with the terseness of Swift, an exquisite flow
and music of style, and above all, contrasts with the latter by the
sweet temper of a superior mind, which saw the follies of mankind, and
was even at the moment suffering severely under hard mistreatment;[1]
and yet seems every where to have but one thought as the undersong--
"Brethren! with all your faults I love you still!"--or as a mother that
chides the child she loves, with one hand holds up the rod, and with the