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Don Quixote de la Mancha (by Miguel de Cervantes Saavedra)
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Don Quixote de la Mancha (by Miguel de Cervantes Saavedra)
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'he thought it expedient and necessary that he should commence knight-errant, and wander through the world, with his horse and arms, in quest of adventures' Don Quixote, first published in two parts in 1605 and 1615, is one of the world's greatest comic novels. Inspired by tales of chivalry, Don Quixote of La Mancha embarks on a series of adventures with his faithful servant Sancho Panza by his side. The novel has acquired mythic status and its influence on modern fiction is profound.
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The Endless Text is the first study to trace the history of chivalric fiction in Western Europe, from the earliest Celtic tales to the conflict between romance and realism in Don Quixote. A set of specific rhetorical devices are traced through the development of medieval romance in the works of Chretien de Troyes, and a surprising number of these devices survive in Don Quixote: the troubled relationship between narrator and hero, the consistent image of the hero in contrast to the fluctuating portrayals of women, and how problems of retelling the story became part of the story itself.An integral part of this rhetorical migration was the unstable referential value of the lexicon: for example, fish platters became holy chalices, and gods became heroes while goddess and Otherworld women became evil enchantresses. It was this linguistic revolution that created the "hermeneutics of romance" and forced readers to interpret the unstable signs embedded in the text. Fear of how this played out in the reader's consciousness was the basis for the condemnation of romance by church and state. Ultimately, this critical approach provides a new formula for rereading Don Quixote, one that reinterprets the questions of what makes or unmakes a hero, what is free will in relation to destiny, and how the language of women differs from that of men.
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Cervantes's great novel Don Quixote is a diptych, the first part of which was published in 1605 and the second in 1615. Focusing almost entirely on the novel's second part, Henry W. Sullivan is the first critic to offer a systematic account of Don Quixote's passage from madness to sanity. Sullivan argues that Part II of the novel is a salvation epic, within which the Cave of Montesinos episode is the single most important pivot in the Knights confrontation with his own emotional difficulties. In this carefully researched and challenging study, Sullivan shows that chapters 22-24 (the Cave of Montesinos episode) represent an entrance into Purgatory, while chapter 55 is the exit from this realm. The Knight and his Squire are made to suffer excruciating torments in the chapters in between, experiencing a Purgatory in this life. This original reading of the book is coupled with an explanation that this Purgatory is "grotesque" since Don Quixote's and Sancho's sins are venial and can thus be cleansed by theological means against a background of comedy. By combining these two aspects, Sullivan exposes both the deeply agonizing and the comic aspects of the text. In addition, the combination of theological interpretation and Lacanian analysis to show Don Quixote's salvation/cure in this life results in a truly comprehensive vision of the Knight's progress. Sullivan also summarizes, in five different streams of critical tradition, the accumulated reception history of the Cave of Montesinos incident, drawing on scholarly writings from the nineteenth century to the present.
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Sancho Panza through Three Hundred Seventy-Five Years of Continuations, Imitations and Criticism, 1605-1980
by R. M. Flores. 240 pgs.
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Chivalry and Romance in the English Renaissance (Chap. 3 "Castles in the Air: Quixotic Representations on the Seventeenth-Century Stage")
by Alex Davis. 263 pgs.
Chivalry and Romance in Renaissance England offers a reinterpretation of the place and significance of chivalric culture in the sixteenth and seventeenth-century and explores the implications of this reconfigured interpretation for an understanding of the medieval generally. Received wisdom has it that both chivalric culture and the literature of chivalry - romances - were obsolete by the time of the Renaissance, an understanding epitomised by the figure of Don Quixote, the reader of chivalric fictions whose risible literary tastes render him absurd. By way of contrast, this study finds evidence for the continued vitality and relevance of chivalric values at all levels of sixteenth- and seventeenth-century society, from the court entertainments of Elizabeth I to the civic culture of London merchants and artisans. At the same time, it charts the process by which, throughout the eighteenth and nineteenth centuries, the chivalric has been firstly exclusively identified with the medieval and then transformed into a virtual shorthand for 'pastness' generally.ALEX DAVIS is lecturer in English, University of St Andrews.
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The Hispanic Connection: Spanish and Spanish-American Literature in the Arts of the World (Chap. 6 "Don Quixote on the Western Frontier" and Chap. 10 "Don Quixote as Theatre")
by Zenia Sacks Dasilva. 468 pgs.
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