Think of the country clergyman or squire collecting his beetles or fossils, like Charles Darwin, for example, or, the hired help of a nobleman, like Joseph Priestley, who was the literary companion to the Marquis of Lansdowne when he discovered oxygen.

As his squire Sancho Panza explains to him time and again, these aren’t giants; they are merely windmills.

This unconventional meta-awareness created philosophical complexity, as the knight and his squire ponder the meaning of their story.

I think that probably had all to do with the performance of Charles Laughton as the haughty squire, Sir Humphrey Pengallan.

As the squire who is the full-figured mastermind behind a gang of murderous wreckers on the Cornish coast, Laughton sports the latest dandyish fashions, a false nose, false eyebrows which almost have lives of their own, a carefully coifed comb-over, a piggish over-bite and line readings that would make Bette Davis at her most mannered envious.

Thou dost mark well, faithful and trusty squire, the gloom of this night, its strange silence, the dull confused murmur of those trees, the awful sound of that water in quest of which we came, that seems as though it were precipitating and dashing itself down from the lofty mountains of the Moon, and that incessant hammering that wounds and pains our ears; which things all together and each of itself are enough to instil fear, dread, and dismay into the breast of Mars himself, much more into one not used to hazards and adventures of the kind.

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