WEBVTT

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Prof: Now,
let us begin today with just

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some general issues that I think
are very pertinent to the

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reading of the Quixote.

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How significant is it that
the Quixote is written in

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prose, not in verse?

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The prose, it is because it is
the prose of the world,

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of everyday life.

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Every day life is prosaic,
and this is the life that is

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being depicted in the
Quixote.

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It is devoid of the order and
the rhythm of poetry.

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Hence the novel,
from now on,

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will be written in prose,
with exceptions.

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Remember my allusion in the
last lecture to the Divine

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Comedy and the order of
the Divine Comedy,

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and that central line in the
very middle of the whole comedy

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alluding to Dante and the highly
structured nature of that poem

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down to the tercets and to every
line,

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with its rhyme, with its meter.

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The same, of course,
is true of the Aeneid,

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with its exquisite form and
shape.

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In the Quixote what is
represented is,

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I repeat, the prosaic.

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The prosaic is that which is
common and ordinary and not apt

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to be expressed in verse,
although there are,

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as you have seen,
in some episodes, bits of verse.

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Now, another general issue
after the Marcela episode--

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remember, when Don Quixote
interferes and doesn't allow

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anyone to chase her into the
woods--

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we have to ponder if Don
Quixote is a hero.

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If he is, how does he differ
from Ulysses,

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from Aeneis,
from the Cid,

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from Roland and other heroes of
the preceding western literary

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tradition?

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Is he mostly a moral hero?

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This is something that we
should ponder as we continue to

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read the novel.

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And the last general issue that
I'd like to bring up is,

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again, the issue of irony.

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Spanish philosopher of the
twentieth century,

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the most important Spanish
philosopher of the twentieth

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century--
He's known in the English

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speaking world mostly for a book
called The Rebellion of the

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Masses,
and also for...

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he has a very important book on
the Quixote,

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Meditations on the
Quixote,

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and yet another that is even
better,

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known than that called The
Dehumanization of Art,

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which is about the avant-garde,
the art of the avant-garde--

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He said: "Irony is instead
of saying what we think,

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we feign to think what we say.

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Irony constitutes an unfolding
splitting up into two such as in

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the prologue of the
Quixote,

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when the narrator splits into
two by creating the friend who

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comes to advise him.

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In irony there is this
splitting because there is a

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need of another who knows and
who understands the double

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entendre."

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Irony can become sarcastic but
not in Cervantes.

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Cervantes's irony,
as you have all ready noticed,

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I'm sure, is mild and humorous
rather than cutting or

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sarcastic.

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The dialogue on which the book
depends so much is essentially

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ironic,
because we can see the errors

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of both protagonists as they
speak with each other,

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errors that they point out to
each other.

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In the case of Don Quixote,
as you will notice,

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once and again he points out
the errors that Sancho makes in

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speaking,
but Sancho will also catch Don

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Quixote in a few mistakes
himself.

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Now, we move to one of my
favorite parts in the book which

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are the scenes in Juan
Palomeque's inn.

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You have to remember the names
of these characters.

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His name is Juan Palomeque.

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I'm sure you did not quite
retain this name.

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He is the innkeeper,
the most important innkeeper in

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the first part of the
Quixote.

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Among the most famous and
important episodes in Don

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Quixote are those at his
inn.

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I have already spoken about the
importance of inns in the plot

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of the Quixote when
commenting upon the first inn,

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in which Don Quixote was
knighted, if you remember.

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Karl Ludvig Seilig,
retired now,

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Professor at Columbia
University, wrote:

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"Formally,
structurally,

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thematically the inn is an
important focal point,

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a place of configurations and
conflations."

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Inns in the Quixote or
in Cervantes are derived from

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the picaresque tradition where
they figure very prominently,

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de Alfarache,
that I have mentioned here

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several times.

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In those books,
the inns play a similar role.

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In fact, as we remarked,
the first innkeeper was a

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picaresque adventures,
where he visited or stayed at

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the most notorious picaresque
emporia throughout Spain.

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I also spoke of how inns
provide a kind of archaeology of

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society,
using that metaphor,

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because characters from
different social classes and

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professions meet in them.

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The one run by Juan Palomeque
is, by far, the most important

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building in Part I of the
Quixote, even more important

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than Don Quixote's house.

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In par two, there will be other
buildings, as you will discover.

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I, again, emphasize that it's
good to remember the names of

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these secondary characters,
like Juan Palomeque,

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who play significant roles in
the novel.

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They sometimes,
as I have all ready mentioned,

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have interesting names,
in some cases the names are

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interesting because they're so
common,

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as Pedro Alonso--remember?--the
neighbor who picks him up,

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and so forth.

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In the case of Juan Palomeque,
his last name has something to

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do with pigeons;
'paloma' is a pigeon in

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Spanish.

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The '-eque' ending
doesn't sound very good,

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like '-ote' in Quixote,
Palomeque, so it's a last name

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that is mostly funny.

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Now, if the road--as we have
come here,

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as we have arrived at the inn
coming on the road--

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was for the most part a sunny,
bright,

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realm, and this will change in
the episodes after the inn.

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The inn is in a kind of a
chiaroscuro--

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I'm sure you've heard this
word, but I guess I'm determined

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to teach a lot of very pedantic
words that you can use in

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further life,
even if you become a lawyer or

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something,

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'chiaroscuro' in Italian
means 'bright dark';

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it's a combination of darkness
and brightness,

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and it's normally associated
with Baroque art.

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And I will be speaking about
the Baroque in later lectures

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the Quixote is mostly
Renaissance,

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and the second part is Baroque.

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so I'll be talking about the
Baroque.

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But, so it is a dark place.

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In Juan Palomeque's inn,
people eat,

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fight, have erotic encounters,
and live in very close

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proximity,
very close proximity,

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as you have noticed,
making for a great deal of

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friction,
real and metaphoric,

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in this case,
as the characters rub against

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each other in the very confined
quarters of this inn.

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Now, at the inns the humor is
very theatrical,

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they are like a stage--and,
in fact,

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in later episodes the inn will
become really a stage with

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characters coming in and out,
like actors on a

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stage--Theatrical in the sense
of slapstick comedy;

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slapstick comedy,
because it's a comedy in which

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characters hit each other with
that stick that has a slap and

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makes it sound like it's a very
hard blow,

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you hit somebody--pow!--and it
sounds.

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It comes from the commedia
dell' arte.

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Commedia dell'arte was a
kind of Italian theater of the

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fifteenth century in which there
was no dialogue;

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the characters just slapped
each other, and kicked each

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other, and so forth,
and went around.

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The word in Spanish for
slapstick is very funny;

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it's called
matapecados--I bet even

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the native speakers didn't know
that word--Matapecados,

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sin killer.

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It's a stick with which you hit
somebody else and--So,

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it's a slapstick kind of
comedy.

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This comedy involves physical
violence, mistaken identities

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and rowdy behavior.

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In episodes such as these,
Cervantes displays his talent

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for comedy,
which he put to good use

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writing his very successful
entremeses or

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interludes--
Remember, the

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usually staged between acts of a
larger play--

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Humor culminates in these
episodes,

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when Don Quixote's imaginings
suddenly appear to mesh with

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what is happening in the tawdry
world in which he finds himself.

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He takes the innkeeper for a
nobleman in his castle,

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as he did with the first inn,
and Maritornes as a damsel in

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love with him,
when she is really an ugly

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prostitute on her way to meet
the carrier,

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who happens to be lodging
there, too.

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The point seems to be that even
the rather concrete reality,

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tangible reality of the inn can
be transformed by the characters

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needs,
desires, and imaginings,

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because this inn is as far as
possible from a castle and the

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characters as far as possible
from those in the romances of

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chivalry.

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Don Quixote's erotic desires
have been aroused by the

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innkeeper's daughter.

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Remember, the innkeeper has a
young daughter whom we imagine

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as a mere teenager and is
described in the text as,

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quote: "a very comely
young maiden."

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This episode is the most
explicit erotic display by Don

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Quixote in the entire book,
erotic in a sense of explicit

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sexuality,
is the most explicit in the

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whole book.

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But more than anything the
episodes at the inn are an

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instance of the social,
being subverted by erotic

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desire, that of the carrier and
Maritornes,

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as well as Don Quixote's.

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The ensuing violence involves
even the law,

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as the representative of the
Holy Brotherhood intervenes,

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and remember,
brings Don Quixote with a

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candleholder in the darkness of
the inn.

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What does this show?

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Well, that the sublimated
eros of literary

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tradition has its counterpart,
perhaps it's real driving force

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on these unleashed erotic forces
that propel the characters to

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violence.

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Cervantes is not moralizing
here, and he hardly ever does.

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All he seems to be doing is
showing the real,

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as it were, subconscious of
literature,

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the counterpart,
let's say, of the romances of

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chivalry and the pastoral,
what lurks underneath the

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romances of chivalry and the
pastoral.

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This is the reason for the
darkness, it represents all of

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these forces as opposed to the
pastoral.

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Pastoral literature always
occurs in daylight,

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and the eclogues--eclogues are
long poems on a pastoral theme,

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the most famous were by
Virgil--The time of an eclogue

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is the time span of a day,
so here it is the complete

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opposite;
the darkness revealing the real

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forces underneath those pastoral
poems, and so forth,

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and the romances of chivalry.

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Now, let me go over the cast of
characters in Juan Palomeque's

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inn.

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As you, I'm sure,
have noticed already,

16:46.600 --> 16:51.280
Cervantes relishes in the
presentation of characters drawn

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from the lower strata of society
and tries to give a rounded view

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of them,
meaning that,

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along with their coarseness,
they often display kindness and

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human understanding.

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These characters,
again, are drawn from the

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picaresque, but also drawn from
the extensive juridical or

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judicial documents of the
period.

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Spain generated a very
extensive judicial system in the

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sixteenth century with hundreds
and thousands of documents

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stored in archives about the
comings and goings of

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characters,
such as the ones we see here.

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But Cervantes,
as I always emphasize,

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tries to give a rounded view of
these characters drawn from the

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lowest classes and also from the
criminal classes,

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rounded view showing that they
can be kind, also.

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And they are not stereotypes,
they are individuated or

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individualized by their moral
and their physical features.

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The best case is
Maritornes--Maritornes,

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the character about who I am
going to speak now,

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whom I hope whose name I hope
you will retain.

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I have mentioned her a couple
of times, and I want you to

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remember her name from now
on--They all have individual

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features, physical as well as
moral.

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The first character is the
innkeeper Juan Palomeque,

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el Zurdo, the left-handed,
lefty--I'll speak about that in

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a minute.

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Remember, I told you to look
for details.

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This is a significant detail,
as you will see a little later.

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Look for details--his wife and
the daughter,

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that's the family running the
inn.

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Number two, Maritornes.

19:08.269 --> 19:13.539
She is an Asturian wench,
meaning, who in spite of her

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profession is kind towards Don
Quixote and Sancho--

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Remember, that she gives him a
drink at the end when he's

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leaving and so forth.

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He's very kind of her--Notice
that she is from Asturias.

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There are maps of Spain on the
website and I have been urging

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you to use them so that you can
situate yourself.

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We have now met the Basque or
Biscainer, as Jarvis calls him,

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who's from the Basque
countries, remember?

19:46.930 --> 19:51.990
I spoke about the Basques;
we met the Yanguesans,

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who were really from Galicia,
northwestern Spain,

19:58.852 --> 20:04.862
and here we have someone from
Asturias.

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The Galicians are of Celtic
origin, they're something like

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the Irish.

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They play bagpipes like the
Irish--I hate bagpipes--but the

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Galicians are known for their
bagpipes.

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I will speak more about the
Galicians as we go on--But

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Maritornes is from Asturias,
a northern province,

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a region of Spain.

20:38.250 --> 20:44.700
They are very proud,
the Asturians,

20:44.700 --> 20:48.580
because the Reconquest,
the war against the Moors,

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began in Asturias,
so they take great pride in

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that,
that it began right away,

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after the Moors occupied Spain.

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So the fact that she's Asturian
might be a joke on the part of

21:02.324 --> 21:06.684
Cervantes, they are very proud,
and here we have an Asturian

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prostitute.

21:07.788 --> 21:14.848
And Cervantes was obviously a
proud Castilian,

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and he has enough Castilians
who are not exactly beings,

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being one to be proud of,
but he has a view,

21:29.630 --> 21:32.050
a particular view,
of the people from various

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regions of Spain.

21:33.098 --> 21:38.898
So Maritornes is a wench from
Asturias.

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She takes pride in being
reliable in her professional

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dealings as a whore.

21:43.930 --> 21:46.480
She keeps her dates,
in this case,

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with catastrophic results.

21:48.650 --> 21:52.120
Though Maritornes is no
princess as Don Quixote

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imagines, she is responsible
within her profession and

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generous.

21:57.088 --> 22:00.128
Cervantes is not a moral
relativist,

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but he has an understanding of
human frailty and the tumbles of

22:05.373 --> 22:08.343
individual fate--
If you read with care,

22:08.342 --> 22:11.562
you will have learned that
Maritornes is a prostitute

22:11.561 --> 22:14.661
because of a series of
misfortunes have brought her

22:14.657 --> 22:17.627
down,
not because she's inherently

22:17.634 --> 22:20.324
inclined to sin--
and as I have said,

22:20.319 --> 22:24.209
and I emphasized she is ethical
within the expectations of her

22:24.208 --> 22:25.608
trade she delivers.

22:25.608 --> 22:30.518
Cervantes also liked to show
how morality can be a code

22:30.518 --> 22:33.698
coherent within a given
context--

22:33.700 --> 22:35.620
You will see this better in
Part II,

22:35.618 --> 22:38.778
when there is a gang of
outlaws, and within that gang,

22:38.779 --> 22:45.859
within its rules there are sets
of ethical behavior--

22:45.858 --> 22:49.278
In his own case,
as you have read the essay by

22:52.240 --> 22:57.180
which you should have by now,
you will know that the women in

22:57.175 --> 23:01.535
Cervantes's family because of
financial pressures were

23:01.536 --> 23:06.386
involved in questionable
activities at certain points--

23:06.390 --> 23:10.000
and I do hope that you read
that very fine and succinct

23:14.009 --> 23:18.019
last class emphasizing the fact
that Cervantes was an insider

23:18.020 --> 23:21.030
and outsider at the same time in
Spain.

23:21.028 --> 23:25.608
Now, I'm going down the list of
characters at the inn:

23:25.612 --> 23:28.872
the carrier,
a muleteer, who happens to be

23:28.872 --> 23:31.282
an acquaintance,
or even a relative,

23:31.282 --> 23:37.432
of Cide Hamete Benengeli,
the alleged author of this

23:37.431 --> 23:38.631
story.

23:38.630 --> 23:42.850
It's another instance of
Cervantes's self reflexivity.

23:42.848 --> 23:46.188
Here we have a character who is
related to the real author.

23:46.190 --> 23:51.410
Now, it is true that
Moriscos--fellows of Moorish

23:51.413 --> 23:55.113
origins--
tended to be carriers like

23:55.111 --> 23:59.451
this, but Cervantes is making,
again, another hilarious

23:59.452 --> 24:02.512
connection between the fictional
and the real worlds of his

24:02.506 --> 24:02.976
novel.

24:02.980 --> 24:07.150
Now, going down the list of
these characters--

24:07.150 --> 24:09.220
and I'm doing this as this had
been a play,

24:09.220 --> 24:12.460
because, as I said,
the inn is very much like a

24:12.455 --> 24:15.465
stage--
there is an officer from the

24:15.467 --> 24:18.607
ancient Holy Brotherhood of
Toledo,

24:18.608 --> 24:21.528
who represents the law,
and he's the one who hits Don

24:21.531 --> 24:23.951
Quixote on the head with a
candleholder,

24:23.950 --> 24:29.520
and I explained in the last
class what the Holy Brotherhood

24:29.522 --> 24:31.632
is,
or was at the time,

24:31.630 --> 24:37.360
and it plays an important role,
because it is the police force

24:37.356 --> 24:41.546
that is pursuing Don Quixote and
Sancho.

24:48.503 --> 24:52.523
participate in Sancho's blanket
tossing at the end of this

24:52.523 --> 24:53.303
episode.

24:53.298 --> 24:57.428
You remember when they go out
and toss Sancho on a blanket,

24:57.431 --> 25:01.211
a practice that was mostly
reserved for animals during

25:01.207 --> 25:02.487
carnival time.

25:02.490 --> 25:06.560
They would do it to poor dogs,
to blanket toss them like that.

25:06.558 --> 25:10.168
A point to consider is that
these are rowdies,

25:10.170 --> 25:13.460
but not inherently evil
characters--again,

25:13.460 --> 25:16.430
in spite of their social
station.

25:16.430 --> 25:19.310
Notice, again,
the very common name Pedro

25:22.579 --> 25:26.229
current pitcher for the
Philadelphia Phillies,

25:26.230 --> 25:32.230
formerly with the Boston Red
Socks and the New York Mets,

25:32.230 --> 25:36.030
he is the Dominican pitcher
who's now making a comeback with

25:36.029 --> 25:39.829
the Philadelphia Phillies and
who happened to be named Pedro

25:44.421 --> 25:49.381
called Peter Smith in English,
so it's not unlikely that this

25:49.378 --> 25:53.878
coincidence would happen,
but whenever I get to this

25:53.875 --> 25:58.455
episode I mention this and
wonder how many baseball fans

25:58.460 --> 26:01.840
there are in the crowd,
because I am,

26:01.843 --> 26:05.753
as you probably know,
a baseball fan and also a

26:05.753 --> 26:09.033
writer, I write on baseball,
and so forth.

26:11.319 --> 26:13.499
the not the pitcher for the
Phillies.

26:13.500 --> 26:20.210
He is a rowdy who participates
in this blanket tossing of poor

26:20.210 --> 26:21.200
Sancho.

26:21.200 --> 26:27.040
Now, these characters,
like Don Quixote himself,

26:27.037 --> 26:32.127
tend to have physical defects
or scars.

26:32.130 --> 26:36.590
The source here,
if there has to be a specific

26:36.588 --> 26:41.198
source is La Celestina--
Remember, the work that I have

26:41.203 --> 26:45.183
mentioned several times,
in which the protagonist is an

26:45.179 --> 26:52.069
old whore and go–between,
who has an ugly scar on her

26:52.066 --> 26:52.906
face.

26:52.910 --> 26:58.550
The faces of these characters
are scarred by time,

26:58.545 --> 27:01.875
by temperament,
by profession,

27:01.880 --> 27:06.020
by crimes, by illness,
by class.

27:11.920 --> 27:16.770
he finds beauty in the ugly,
and this is very much a part of

27:20.880 --> 27:25.830
He finds beauty in the ugly,
the deformed,

27:30.598 --> 27:34.478
characters and Cervantes's
characters are monsters.

27:34.480 --> 27:39.000
These characters have features
that make them apt to be

27:38.997 --> 27:42.007
displayed, to be seen,
to be admired,

27:45.019 --> 27:52.829
And so, I have asked Elena to
provide us with some examples of

27:56.548 --> 27:58.858
I am not going to remember
their names.

27:58.858 --> 28:02.068
Is that clear enough,
or should I lower the curtains?

28:06.996 --> 28:12.286
this midget with a book,
so that you can see the

28:12.288 --> 28:15.408
relative size,
as I mentioned in the last

28:15.411 --> 28:15.841
class.

28:15.838 --> 28:20.448
He's very tiny,
indeed, and that physical

28:20.450 --> 28:27.020
feature is that which makes him
a specific individual,

28:27.019 --> 28:30.659
and it is that deformity that
makes him interesting,

28:30.660 --> 28:36.670
esthetically interesting.

28:36.670 --> 28:38.340
These are others.

28:38.338 --> 28:39.938
Some of them have,
as the one in Las

28:39.938 --> 28:43.838
Meninas,
and will it see in a minute,

28:43.840 --> 28:50.970
a kind of an air of idiocy on
their faces as if they were also

28:50.968 --> 28:52.368
retarded.

28:52.369 --> 28:54.429
Next.

28:54.430 --> 28:56.910
This one, I think,
is the most famous one and do

28:56.910 --> 28:58.810
you remember the name of this
one?

28:58.809 --> 29:00.649
I had the name.

29:07.058 --> 29:08.698
Student:  Morra.

29:08.700 --> 29:10.840
El de Vallecas viene despues.

29:10.838 --> 29:15.378
Prof: Yes,
these are characters in the

29:15.383 --> 29:16.213
court.

29:16.210 --> 29:20.540
They were used for
entertainment and for amusement.

29:20.539 --> 29:23.109
Next.

29:23.108 --> 29:26.738
Yes, this one has,
you can see,

29:26.743 --> 29:30.503
an air of idiocy in his face.

29:30.500 --> 29:32.420
Next.

29:32.420 --> 29:36.310
All right, and then we get to
Las Meninas,

29:36.305 --> 29:40.915
back to Las Meninas,
with that flat round face,

29:40.920 --> 29:43.940
and that gesture,
and that face of sort of

29:43.942 --> 29:46.512
idiocy,
I wonder if even Down's

29:46.510 --> 29:49.140
Syndrome or something like that.

29:49.140 --> 29:56.010
Such characters can and were
turned into spectacles for

29:56.007 --> 30:00.897
amusement as is done,
by the way, with Don Quixote in

30:00.901 --> 30:04.051
several episodes because of
their peculiar features.

30:04.048 --> 30:07.948
It is their defects that make
them esthetically valuable and

30:10.618 --> 30:14.378
master at showing individuals
features and suggesting a

30:14.376 --> 30:18.966
relationship between these and
the personality of his subjects.

30:18.970 --> 30:23.960
He did this even in the
portraits of kings--I think I

30:23.961 --> 30:29.431
mentioned in the last class,
some of these Hapsburgs had a

30:29.434 --> 30:35.154
large jaw;
because of inbreeding in these

30:35.152 --> 30:42.002
lines such features were
emphasized genetically,

30:42.001 --> 30:46.521
and so he did not stop at...

30:46.519 --> 30:49.959
and he would paint the kings
like that.

30:49.960 --> 30:53.100
It is the same as Cervantes's
penchant to characterize based

30:53.102 --> 30:55.022
on peculiarities of body and
mind.

30:55.019 --> 30:59.629
Don Quixote is thin and
cerebral, Sancho is fat and

30:59.634 --> 31:00.654
physical.

31:00.650 --> 31:03.490
Each, however,
is mental or cerebral or

31:03.493 --> 31:05.893
physical, in a particular way.

31:05.890 --> 31:08.780
But while focusing on these
ugly characters,

31:08.778 --> 31:13.408
let us not forget Marcela's
perfect beauty and that of other

31:13.407 --> 31:17.407
young women and men about to
appear in the novel.

31:17.410 --> 31:21.740
These follows models of beauty
derived from Renaissance art,

31:21.736 --> 31:25.106
which in turn derived from
classical models.

31:25.108 --> 31:28.618
Think of Botticelli's Venus,
and The Primavera,

31:28.618 --> 31:33.298
variety is the norm in the
Quixote with frequent

31:33.298 --> 31:38.148
contrast between extreme
ugliness and stunning beauty.

31:38.150 --> 31:41.650
You will find this in
characters such as Dorotea,

31:41.654 --> 31:46.114
that are about to appear in
this central part of the novel.

31:46.108 --> 31:50.638
At the inn, the first character
with a physical defect is Juan

31:50.644 --> 31:53.624
Palomeque himself,
who is left-handed.

31:53.618 --> 31:58.388
Until very recently,
left-handedness was considered

31:58.390 --> 32:04.310
a defect, and in school children
were forced to use their right

32:04.305 --> 32:05.255
hands.

32:05.259 --> 32:09.599
My Basque maternal grandfather
was left-handed,

32:09.602 --> 32:13.002
and he was forced,
physically forced,

32:13.000 --> 32:16.400
to use his right hand in
school;

32:16.400 --> 32:17.960
otherwise he would be beaten.

32:17.960 --> 32:21.400
And when he went home to do his
homework he would do it

32:21.402 --> 32:24.912
left-handed, which is more
comfortable, and as a result,

32:24.907 --> 32:27.137
he could write with both hands.

32:27.140 --> 32:28.960
But I'm trying to emphasize
that because now,

32:28.960 --> 32:33.170
of course, we are very far from
thinking that left-handedness is

32:33.166 --> 32:38.696
a physical defect--
How many left-handers here?

32:38.700 --> 32:41.960
You are a real minority.

32:41.960 --> 32:50.320
It's okay--But,
of course, now it's common.

32:50.318 --> 32:53.748
I have relatives who are
left-handed and so forth,

32:53.752 --> 32:57.472
but the most remarkable
character in terms of physical

32:57.468 --> 32:59.218
traits is Maritornes.

32:59.220 --> 33:03.430
Her name, by the way,
could suggest an inversion of

33:03.429 --> 33:07.219
virginity, or the opposite of
virginity, Mari,

33:07.217 --> 33:11.087
Maria, Virgin Mary,
-tornes, turns around.

33:11.088 --> 33:16.048
Maritornes would be the reverse
of a virgin.

33:16.049 --> 33:18.779
She's, in fact, a whore.

33:18.778 --> 33:21.498
Let me read the descriptions of
Maritornes.

33:21.500 --> 33:24.730
First, on page one-eleven of
your book:

33:24.730 --> 33:26.920
"There was also a servant
in the inn,

33:26.920 --> 33:28.860
an Asturian wench,
broad-faced,

33:28.858 --> 33:31.228
flat-headed,
and saddle-nosed,

33:31.230 --> 33:35.460
with one eye squinting,
and the other not much better.

33:35.460 --> 33:39.050
It is true, the gracefulness of
her body [I changed that word

33:39.048 --> 33:41.798
from the translation]
made amends for her other

33:41.801 --> 33:42.521
defects.

33:42.519 --> 33:46.729
She was not seven hands high
from her feet to her head;

33:46.730 --> 33:49.270
and her shoulders,
which burdened her a little too

33:49.269 --> 33:52.219
much, made her look down to the
ground more than she cared

33:52.224 --> 33:52.904
to."

33:52.900 --> 33:56.740
Remember, again,
the midget in Las Meninas,

33:56.740 --> 34:00.400
that we just saw;
the face is broad,

34:00.402 --> 34:04.482
flat, the nose deformed,
her being stooped or

34:04.476 --> 34:07.196
hunchbacked suggests her being
inclined,

34:07.200 --> 34:09.540
literally, to the ground,
to the base,

34:09.539 --> 34:12.779
to that which is low,
not to the heights.

34:12.780 --> 34:18.030
Her defective eyes had a touch
of grotesqueness,

34:18.030 --> 34:24.550
but also signals limitations in
perception that are at the core

34:24.545 --> 34:28.955
of what happens at the inn in
the dark,

34:28.960 --> 34:30.420
when they can't see each other
very well.

34:30.420 --> 34:35.960
These are only her physical
attributes.

34:35.960 --> 34:41.620
Later, when Don Quixote seizes
Maritornes we get the rest of

34:41.619 --> 34:46.459
the picture on pages 114-115:
"Thus she encountered Don

34:46.458 --> 34:49.308
Quixote's arms,
[she being Maritornes],

34:49.309 --> 34:52.769
who caught fast hold of her by
the wrist,

34:52.768 --> 34:56.688
and pulling her towards him,
she not daring to speak a word,

34:56.690 --> 34:59.450
made her sit down on the bed by
him.

34:59.449 --> 35:02.299
Presently he felt to feeling
her smock, which,

35:02.295 --> 35:05.455
though it was of canvas,
seemed to him to be of the

35:05.458 --> 35:07.228
finest and softest lawn.

35:07.230 --> 35:10.190
She had on her wrist a string
of glass beads;

35:10.190 --> 35:13.590
but to his fancy they were
precious oriental pearls.

35:13.590 --> 35:16.750
Her hairs, not unlike those of
a horse's mane,

35:16.746 --> 35:20.316
he took for threads of the
brightest gold of Arabia,

35:20.322 --> 35:23.972
whose splendour obscures that
of the sun itself.

35:23.969 --> 35:27.399
And though her breath,
doubtless, smelled of last

35:27.402 --> 35:30.912
night's salt fish,
he fancied himself sucking from

35:30.905 --> 35:33.975
her lips a delicious and
aromatic odor.

35:33.980 --> 35:37.860
In short, he painted her in his
imagination in the very form and

35:37.864 --> 35:40.644
manner he had read described in
his books,

35:40.639 --> 35:43.029
of some princes,
who comes, adorned in the

35:43.030 --> 35:45.080
manner here mentioned,
to visit the

35:45.079 --> 35:47.689
dangerously-wounded knight with
whom she is in love.

35:47.690 --> 35:50.560
And so great was the poor
gentleman's infatuation,

35:50.559 --> 35:53.369
that neither the touch,
nor the breath,

35:53.369 --> 35:56.139
nor other things the good wench
had about her,

35:56.139 --> 36:00.699
could undeceive him,
though enough to make anyone

36:00.699 --> 36:03.359
but a carrier vomit."

36:03.360 --> 36:08.020
Now, we move here to a kind of
phenomenology of ugliness,

36:08.018 --> 36:10.788
how does it feel,
how does one perceive ugliness,

36:10.789 --> 36:15.409
of the repulsive,
as Maritornes more contingent

36:15.405 --> 36:19.915
and secondary characteristics
are itemized.

36:19.920 --> 36:24.750
The reader is given this chance
features depending on what she

36:24.746 --> 36:28.936
wore and how she smelled on that
particular night,

36:28.940 --> 36:32.970
and what here breath was like,
owing to her last meal.

36:32.969 --> 36:38.119
The phrase: "the other
things good wench had about

36:38.121 --> 36:42.891
her" is a polite
circumlocution a periphrastic

36:42.891 --> 36:48.521
way of sparing the reader of
further probably more revolting

36:48.518 --> 36:49.758
traits.

36:49.760 --> 36:55.560
That's what that phrase stands
for there.

36:55.559 --> 36:58.779
The aesthetics of the ugly and
repulsive is very much

36:58.782 --> 37:02.842
contingent on temporality,
on the passing time that wears

37:02.842 --> 37:07.372
down bodies and endows them with
undesirable though temporary

37:07.369 --> 37:08.349
qualities.

37:08.349 --> 37:11.369
Deformities are contingent
individuating,

37:11.369 --> 37:14.269
particularizing,
in contrast to perfect models

37:14.266 --> 37:16.466
that are timeless--
Contingency,

37:16.474 --> 37:20.894
by the way, since I'm using the
word a lot: that may or may not

37:20.887 --> 37:23.517
happen,
possible, happening by chance,

37:23.518 --> 37:25.828
accidental,
fortuitous, conditional,

37:25.831 --> 37:28.291
these are definitions of
contingency--

37:28.289 --> 37:33.249
This is the aesthetic
counterpart of the statement by

37:33.248 --> 37:35.828
Don Quixote,
when he's mauled by the

37:35.826 --> 37:37.566
windmills that he took for
giants.

37:37.570 --> 37:39.730
Everything is subject to change.

37:39.730 --> 37:44.580
It is the realm mischievous
enchanters that alter things,

37:44.579 --> 37:47.879
like walling up his library and
turning this damsel,

37:47.880 --> 37:50.730
this beautiful princess that he
thinks he's holding,

37:50.730 --> 37:54.010
into this repulsive whore.

37:54.010 --> 38:01.420
Don Quixote mistakes to apply
the model of beauty,

38:01.420 --> 38:03.390
the Renaissance blonde model of
beauty,

38:03.389 --> 38:08.179
which is blonde and beautiful
young woman,

38:08.179 --> 38:10.479
to the grotesque Maritornes.

38:10.480 --> 38:14.080
His mistake reveals,
however, that what he passes

38:14.077 --> 38:16.847
off as sublime love is really
lust.

38:16.849 --> 38:20.889
The episode lays bare
appropriately in the middle of

38:20.893 --> 38:25.813
the night, and in total darkness
Don Quixote's subconscious.

38:25.809 --> 38:29.099
We should not miss the point
that as a prostitute,

38:29.099 --> 38:32.999
an embodiment of lust,
Maritornes is the opposite of

38:33.000 --> 38:37.130
what one would normally consider
sexually desirable.

38:37.130 --> 38:43.010
We are here at the lowest point
of love, at its basest.

38:43.010 --> 38:47.030
So the episodes at Juan
Palomeque's inn,

38:47.030 --> 38:50.670
fraught with erotic violence
and culminating with Don Quixote

38:50.672 --> 38:53.892
and Sancho's violent bowel
movements and vomiting,

38:53.889 --> 38:57.699
are like a phantasmagoria in
which the basic,

38:57.699 --> 39:02.469
the most basic drives behind
the protagonists' actions are

39:02.467 --> 39:04.137
staged as it were.

39:04.139 --> 39:08.429
They are reduced to their
oral-- these characters,

39:08.429 --> 39:10.719
these protagonists--are reduced
to their oral,

39:10.719 --> 39:15.459
anal and even genital stages,
if we're going to use Freudian

39:15.463 --> 39:19.873
terminology;
they are reduced to that basic

39:19.873 --> 39:20.643
level.

39:20.639 --> 39:24.199
Don Quixote's desire for the
innkeeper's daughter shows his

39:24.204 --> 39:26.914
physical desires,
which are surely behind his

39:26.911 --> 39:28.941
transforming Aldonza Lorenzo.

39:28.940 --> 39:33.080
Aldonza Lorenzo,
remember, is the young woman

39:33.076 --> 39:38.526
near Don Quixote's village that
he turns into Dulcinea,

39:38.530 --> 39:45.790
so we see what is behind that
turning Aldonza into the sublime

39:45.789 --> 39:47.099
Dulcinea.

39:47.099 --> 39:49.579
Aldonza is not ugly,
as we will see.

39:49.579 --> 39:52.749
She is a brawny, but attractive.

39:52.750 --> 39:57.450
Don Quixote's lust for her is
typical of an upper class older

39:57.451 --> 40:00.351
gentleman for a lower class
woman,

40:00.349 --> 40:06.599
whom he considers sexier and
more sexual than women of his

40:06.603 --> 40:08.253
social class.

40:08.250 --> 40:12.160
Spanish literature is full of
situations in which a lustful

40:12.157 --> 40:15.187
aristocrat tries to ravage a
peasant woman;

40:15.190 --> 40:17.150
all of European literature is
full of this.

40:17.150 --> 40:21.210
Don Juan, of the famous Don
Juan tradition is such a case,

40:21.208 --> 40:25.268
but there are others that I
will mention during the course

40:25.266 --> 40:26.686
of the semester.

40:26.690 --> 40:31.360
Don Quixote's and Sancho's
bodily evacuations provoked by

40:31.364 --> 40:36.374
Fierabras's balsam dramatized
the violent forces behind their

40:36.373 --> 40:38.463
basic drives to live.

40:38.460 --> 40:44.260
Remember that Don Quixote
claims to have the recipe or the

40:44.262 --> 40:49.342
prescription for this balsam,
that he learned in the romances

40:49.338 --> 40:52.918
of chivalry that if you drink it
will make you whole again,

40:52.920 --> 40:56.460
even if you have been sliced or
cut in two.

40:56.460 --> 40:59.350
You drink the balsam and,
boom!, you're made whole again,

40:59.353 --> 41:00.133
you're cured.

41:00.130 --> 41:02.860
And he asks for the
ingredients, and he makes it,

41:02.860 --> 41:11.000
and they drink it and,
of course, the results are

41:11.003 --> 41:15.153
horrendous,
because both Don Quixote and

41:15.152 --> 41:18.382
Sancho have violent bowel
movements and vomiting,

41:18.380 --> 41:19.740
and all of that.

41:19.739 --> 41:24.009
This is particularly so with
Sancho,

41:24.010 --> 41:26.480
who, by the way,
will defecate again soon out of

41:26.478 --> 41:29.268
fear--
if you have gotten to that nice

41:29.273 --> 41:31.803
episode with the fulling-hammer.

41:31.800 --> 41:35.880
But note that the balsam is
supposed to restore their bodies

41:35.875 --> 41:38.565
to make their physiques whole
again,

41:38.570 --> 41:42.100
erasing the ravages of violence
and,

41:42.099 --> 41:44.699
more broadly, of time.

41:44.699 --> 41:48.569
The balsam would erase those
ugly physical features or scars

41:48.570 --> 41:50.080
that identified them.

41:50.079 --> 41:53.459
Here, the balsam stands for
something that would erase those

41:53.460 --> 41:56.210
marks on their bodies,
the marks that I have been

41:56.210 --> 41:57.300
speaking about.

41:57.300 --> 42:01.260
Excreting is a mock form of
purification,

42:01.260 --> 42:07.200
a rejection of the material
world that they have ingested.

42:07.199 --> 42:11.299
Ironically, Don Quixote does
get better;

42:11.300 --> 42:15.730
perhaps, medically speaking,
he needed to be cleansed out,

42:15.730 --> 42:22.160
and so taking this which turns
out to be a violent laxative

42:22.164 --> 42:28.574
makes him feel better,
but Sancho almost dies,

42:28.570 --> 42:34.410
because he vomits and has
diarrhea,

42:34.409 --> 42:37.349
and everything that you saw
there.

42:37.349 --> 42:43.089
I will return to this unsavory
topic soon.

42:43.090 --> 42:48.780
Now, the flimsy construction of
Juan Palomeque's inn leads us to

42:48.779 --> 42:53.289
a topic that I have mentioned
several times before:

42:56.630 --> 42:57.790
gesture--
He's improvising,

42:57.786 --> 43:01.526
he's going to paint--
and discussed at length in the

43:01.532 --> 43:04.012
prologue to Don Quixote.

43:04.010 --> 43:08.920
Juan Palomeque's inn is the
most important building in Part

43:08.916 --> 43:15.176
I and is an internal emblem,
I think, of the book's careless

43:15.175 --> 43:21.145
genesis and structure,
or its deliberately careless

43:21.152 --> 43:23.752
genesis and structure.

43:23.750 --> 43:27.840
I'm equating here the inn and
its construction with the

43:27.840 --> 43:31.250
composition of the book Don
Quixote.

43:31.250 --> 43:36.050
The inn is the one shelter the
protagonists do find repeatedly

43:36.047 --> 43:38.587
in Part I,
but they enjoy no protection or

43:38.585 --> 43:41.595
peace within its walls,
because it is so dilapidated

43:41.597 --> 43:44.597
that it barely keeps them out of
the elements.

43:44.599 --> 43:49.509
It is not a meaningful and
fulfilling end to the road,

43:49.514 --> 43:51.374
but a way station.

43:51.369 --> 43:55.389
That is, is not a home to
return to, and it's meaningful,

43:55.391 --> 43:58.481
and it shelters them,
and gives them solace,

43:58.478 --> 43:59.698
and so forth.

43:59.699 --> 44:03.509
It is just a way station,
its parts are in a sorry state

44:03.512 --> 44:07.742
of disrepair and do not match
harmoniously with each other.

44:13.780 --> 44:15.130
the original.

44:20.427 --> 44:24.857
or attic, where Don Quixote's
bed is set up:

44:24.860 --> 44:30.530
"gave evident tokens of
having formerly served many

44:30.527 --> 44:33.617
years as a hayloft."

44:37.099 --> 44:40.069
whom you must remember from my
earlier lectures--

44:40.070 --> 44:43.970
remember the lexicographer who
wrote the first dictionary of

44:43.972 --> 44:47.682
the Spanish language and
published it in 1610-- says that

44:50.590 --> 44:53.360
obviously from the Latin
'camera,' chamber,

44:53.360 --> 44:58.050
and it's a disparaging term for
the highest spot in a house,

44:58.050 --> 45:01.900
an attic or loft,
where old junk heterogeneous by

45:01.896 --> 45:04.136
its very nature is stored.

45:04.139 --> 45:08.199
This the reason the stars can
be seen through the gaps on his

45:08.195 --> 45:11.445
flimsy roof,
which is why it is called in

45:11.454 --> 45:14.104
the Spanish an
"estrellado

45:14.101 --> 45:17.151
establo"
or starlit loft,

45:17.150 --> 45:20.910
that is, if you think of the
inn like this,

45:24.590 --> 45:28.210
So, from the inside,
you could see the roof,

45:28.210 --> 45:33.650
which has holes,
and it's starry because you can

45:33.650 --> 45:37.640
see through the roof,
the holes in the roof,

45:37.635 --> 45:40.045
you can see it's a very
primitive drawing,

45:40.050 --> 45:43.950
but you can see through its
roof, you can see the stars.

45:43.949 --> 45:47.629
This suggests that the inn was
originally a small house to

45:47.625 --> 45:50.265
which additions were made
haphazardly,

45:50.268 --> 45:53.358
incorporating the stable and
it's hayloft to its living

45:53.356 --> 45:55.926
quarters to accommodate more
paying guests.

45:55.929 --> 46:01.039
Also, a roof so full of holes
that the stars are visible from

46:01.036 --> 46:06.566
within comically suggests that
the inn has cosmic connections,

46:06.570 --> 46:10.420
as did Greek,
Roman and Aztec temples,

46:10.420 --> 46:14.220
as well as the Renaissance
counterparts by the alignment to

46:14.222 --> 46:15.472
celestial bodies.

46:15.469 --> 46:18.579
In other words,
in Classical architecture,

46:18.579 --> 46:23.649
in Aztec architecture,
the temples were aligned to the

46:23.648 --> 46:26.848
stars,
to the constellations,

46:26.851 --> 46:32.921
so that the building would be
part of this cosmic world.

46:32.920 --> 46:34.130
Do you understand what I'm
trying to say?

46:34.130 --> 46:36.600
The buildings were aligned in
such a way.

46:36.599 --> 46:41.129
Also, such a star spangled
ceiling would be nature's

46:41.128 --> 46:46.098
counterpart to the elaborate
ones of certain palaces,

46:46.099 --> 46:53.299
in which zodiac signs were
often depicted in the roof.

46:53.300 --> 46:57.650
Which is the closest example we
have to that today,

46:57.648 --> 47:02.778
those of us who live in the
northeast, that we see it all of

47:02.778 --> 47:03.908
the time?

47:03.909 --> 47:05.659
Student: Grand Central.

47:05.659 --> 47:07.359
Prof: Grand Central
Station!

47:07.360 --> 47:09.500
The next time you go to Grand
Central Station,

47:09.500 --> 47:11.990
look up--not too long,
or they might take your

47:11.994 --> 47:13.584
wallet--
but look up,

47:13.581 --> 47:18.391
and you will see that the roof
has drawn on it all of the

47:18.393 --> 47:19.943
constellations.

47:19.940 --> 47:25.380
It is as if there were no roof,
as if you could see actually

47:25.380 --> 47:31.100
the stars, and that is a device
used in Renaissance palaces.

47:31.099 --> 47:35.639
And so, it is an ironic
allusion to it,

47:35.639 --> 47:42.329
that the roof of this very
humble building is starlit.

47:42.329 --> 47:46.419
Against the background of the
inns ramshackle improvised

47:46.420 --> 47:49.240
architecture,
such illusions are hilarious,

47:49.239 --> 47:52.159
and highlight that it is no
architectural jewel built

47:52.164 --> 47:54.924
following a careful plan and
classical models.

47:54.920 --> 47:57.920
It would seem as if during its
construction,

47:57.920 --> 48:00.200
which was gradual and ruled by
chance,

48:00.199 --> 48:04.019
everything in it has been
transformed by contingency--

48:04.018 --> 48:06.848
there is contingency again--and
the passage of time.

48:06.849 --> 48:08.849
"Many years"
it says in the quote that I

48:08.849 --> 48:09.299
read you.

48:09.300 --> 48:12.590
The provisional nature of its
furnishings is evident in Don

48:12.594 --> 48:14.504
Quixote's bed,
which, quote:

48:14.496 --> 48:18.676
"consisted of four not
very smooth boards upon two not

48:18.679 --> 48:20.549
very equal trestles".

48:20.554 --> 48:21.424
Unquote.

48:21.420 --> 48:23.230
Predictably,
during the free for all

48:23.233 --> 48:25.723
provoked by Maritornes nocturnal
appointment,

48:25.719 --> 48:29.269
the mule driver climbs on it
and makes it collapse,

48:29.268 --> 48:32.358
quote: "the bed which was
a little feeble and its

48:32.358 --> 48:35.618
foundations not of the strongest
being unable to bear the

48:35.621 --> 48:39.001
additional weight of the carrier
came down with them to the

48:39.001 --> 48:40.111
ground."

48:40.110 --> 48:41.470
You remember that scene,
I'm sure.

48:41.469 --> 48:45.889
The improvised patchwork
architecture of Palomeque's inn

48:45.893 --> 48:50.963
reflects that of the structure
of the Quixote Part I,

48:50.960 --> 48:54.900
with its interpolated stories
of which you're going to read

48:54.904 --> 48:56.064
some very soon.

48:56.059 --> 49:01.669
And also Cervantes's notorious
errors, and even Don Quixote's

49:01.670 --> 49:07.280
practice of letting Rocinante's
whim dictate the direction of

49:07.282 --> 49:08.782
his journey.

49:08.780 --> 49:14.280
Now, the Quixote is the
only classic that about which

49:14.280 --> 49:18.850
there is a whole bibliography
about its errors.

49:18.849 --> 49:21.549
All classics have--you know,
they say that Homer fell asleep

49:21.552 --> 49:22.722
here,
and something happened,

49:22.719 --> 49:24.109
and the Odyssey is not
perfect,

49:24.110 --> 49:27.570
and this and that,
but the errors in the 1605

49:27.574 --> 49:31.124
Quixote are a notorious
part of it,

49:31.119 --> 49:36.509
and a lot has been written
about them,

49:36.510 --> 49:38.890
because improvisation can lead
to errors,

49:38.889 --> 49:42.879
and there are quite a few in
Part I.

49:42.880 --> 49:45.800
Let me list some of them.

49:45.800 --> 49:49.380
There are errors that the
characters make that cannot be

49:49.376 --> 49:52.366
attributed to Cervantes but to
their haste,

49:52.369 --> 49:53.509
that is, the haste of the
characters,

49:53.510 --> 49:57.000
their carelessness,
but all of that is within the

49:57.001 --> 49:57.731
fiction.

49:57.730 --> 50:01.020
These are the errors that later
on you will find,

50:01.018 --> 50:04.578
Dorotea makes them while
playing Princess Micomicona,

50:04.581 --> 50:08.361
Don Quixote makes a few;
in chapter IV he says that

50:08.356 --> 50:11.856
seven times nine is
seventy-three--this could be a

50:11.858 --> 50:12.428
typo.

50:12.429 --> 50:16.189
Later he says that the biblical
Samson removed the doors of the

50:16.186 --> 50:19.816
temple, when it was the gates of
the city of Gaza that Samson

50:19.820 --> 50:20.730
ripped off.

50:20.730 --> 50:24.180
And there are other kinds of
errors that can be blamed on

50:24.182 --> 50:25.912
Cervantes and his editors.

50:25.909 --> 50:29.889
For instance,
the mistaken chapter titles and

50:29.893 --> 50:30.803
numbers.

50:30.800 --> 50:34.550
The title of chapter X
reads--not in your translation,

50:34.554 --> 50:38.314
where it was fixed,
but in the original--it reads:

50:38.309 --> 50:41.629
"Concerning what further
befell Don Quixote with the

50:41.630 --> 50:45.250
gallant Basque and the danger in
which he found himself with a

50:45.248 --> 50:47.678
band of Galicians from
Yanguas."

50:47.679 --> 50:51.079
But the episode with the Basque
is over,

50:51.079 --> 50:54.569
and the fracas with the
Yanguesans doesn't come until

50:58.818 --> 51:00.478
Marcela interlude.

51:00.480 --> 51:06.600
Chapter XLIV appears in roman
numerals as chapter XXXV,

51:06.599 --> 51:07.959
and so on.

51:07.960 --> 51:13.780
But the grandest mistake was
the theft of Sancho's donkey,

51:13.780 --> 51:19.080
which you have not reached yet;
but in chapter XXV the reader

51:19.083 --> 51:22.423
finds out that Sancho's donkey
is not just missing,

51:22.416 --> 51:24.146
but that it was stolen!

51:24.150 --> 51:27.820
After twelve chapters,
we started worrying about the

51:27.822 --> 51:31.642
lost of recovered donkey,
here reappears gradually.

51:31.639 --> 51:36.869
His trappings are mentioned,
until in chapter XLVI he is

51:36.869 --> 51:40.479
there, again,
miraculously in the inn's

51:40.483 --> 51:41.533
stable!

51:41.530 --> 51:46.780
This is all in the first Juan
de la Cuesta 1605 edition--Juan

51:46.780 --> 51:51.420
de la Cuesta was the publisher
of the 1605 edition.

51:51.420 --> 51:54.250
Actually, the very first
printing was late 1604,

51:54.248 --> 51:57.258
but it was given the 1605,
if you want to be really

51:57.257 --> 51:58.037
pedantic.

51:58.039 --> 52:02.729
But it's the 1605 date that is
given--This is all in the first

52:02.733 --> 52:07.123
Juan de la Cuesta edition,
the princeps edition.

52:07.119 --> 52:11.479
But in the second 1605
printing, it's also well--

52:11.480 --> 52:15.910
a new printing had to be
made--also by Juan de la Cuesta,

52:15.909 --> 52:18.819
the theft of the donkey appears
in chapter XXIII and it's

52:18.822 --> 52:22.202
recovered in chapter XXX,
and Cervantes has added a

52:22.202 --> 52:25.742
series of paragraphs to justify
all of this--

52:25.739 --> 52:28.129
these are hilarious paragraphs.

52:28.130 --> 52:33.380
The writing in these added
passages reads very much like

52:33.380 --> 52:37.260
Cervantes's prose to me,
though not to other scholars,

52:37.257 --> 52:39.357
who think that this is somebody
else writing,

52:39.360 --> 52:42.580
so editors have incorporated
them into the final version of

52:42.583 --> 52:43.253
the model.

52:43.250 --> 52:47.110
A critic, named Lathrop,
thinks that the additions were

52:47.106 --> 52:50.686
by the editor,
and believes that all of these

52:50.693 --> 52:54.813
mistakes were put it the
Quixote on purpose by

52:54.809 --> 52:55.839
Cervantes.

52:55.840 --> 52:58.570
Once you have something like
this, there are critics who can

52:58.567 --> 53:02.867
claim anything,
that it was not a case of

53:02.869 --> 53:09.809
careless improvisation but a
plan to simulate it.

53:09.809 --> 53:12.579
The issue is mute for me.

53:12.579 --> 53:14.539
In either case,
willed or not,

53:14.536 --> 53:18.146
the mistakes reveal a hasty,
shoddy composition,

53:18.152 --> 53:21.202
and imperfection and lack of
finish,

53:21.199 --> 53:24.239
as it were, and fits with the
topic of improvisation

53:24.240 --> 53:27.760
introduced in the prologue,
when the narrator,

53:27.764 --> 53:32.014
or Cervantes,
claims that he doesn't know how

53:32.005 --> 53:37.395
to write the prologue and
presents himself as someone who

53:37.402 --> 53:41.742
is not in total control of his
creation.

53:41.739 --> 53:48.499
Now, back to Juan Palomeque's
inn.

53:48.500 --> 53:54.220
I hope you have understood my
equating the improvisation and

53:54.215 --> 53:59.635
the ramshackle character of the
inn, and that of the 1605

53:59.639 --> 54:01.479
Quixote.

54:01.480 --> 54:05.690
Now, Sancho's blanket
tossing--I must mention the last

54:05.690 --> 54:09.550
event at the inn,
because Sancho never forgives

54:09.550 --> 54:12.370
Don Quixote for not defending
him,

54:12.369 --> 54:17.369
and the failure of his master
to act is something that casts

54:17.367 --> 54:21.517
doubts in his mind about Don
Quixote's courage.

54:21.518 --> 54:24.948
Don Quixote justifies it
because he claims that he's not

54:24.954 --> 54:27.894
supposed to enter into battle
against commoners,

54:27.889 --> 54:29.699
and that Rocinante froze.

54:29.699 --> 54:32.989
The importance of this episode
is that Cervantes is building up

54:32.989 --> 54:35.589
the relationship between his two
protagonists,

54:35.590 --> 54:39.370
which will deepen in the next
episodes,

54:39.369 --> 54:42.779
first when Sancho helps to cure
Don Quixote when he's wounded by

54:42.784 --> 54:44.904
the shepherds defending their
sheep,

54:44.900 --> 54:48.300
and later when Don Quixote,
angry at Sancho for laughing at

54:48.298 --> 54:49.928
him,
strikes his squire--You

54:49.931 --> 54:52.641
remember when Don Quixote hits
him over the head--

54:52.639 --> 54:56.759
This deepening relationship is
one of the great virtues of the

54:56.759 --> 54:57.299
novel.

54:57.300 --> 55:01.490
Cervantes displays a profound
and caring knowledge of human

55:01.487 --> 55:04.447
nature and of the
transformations of human

55:04.449 --> 55:07.419
relationships;
it's something to learn from

55:07.422 --> 55:08.022
the book.

55:08.018 --> 55:12.028
This is new for a fiction,
that their relationship

55:12.034 --> 55:16.054
transcends the social
differences between them and

55:16.048 --> 55:21.288
becomes profound and complicated
because of these spats that they

55:21.293 --> 55:23.263
occasionally have.

55:23.260 --> 55:26.160
The following episodes follow
the same pattern.

55:26.159 --> 55:30.529
Don Quixote and Sancho mistake
what they see with catastrophic

55:30.525 --> 55:31.595
consequences.

55:31.599 --> 55:34.459
It's the same pattern
established in the episode of

55:34.456 --> 55:35.366
the windmills.

55:35.369 --> 55:39.899
The first is the battle with
the herds of sheep--that I hope

55:39.900 --> 55:44.280
you found as hilarious as I
always do when I reread it.

55:44.280 --> 55:47.090
Don Quixote is,
again, fooled by a real world

55:47.090 --> 55:51.050
that seems to conspire to look
like what he has in his head.

55:51.050 --> 55:54.000
In this case,
the sheep reflect what you must

55:54.001 --> 55:58.161
have read in Elliott about the
importance of sheep farming,

55:58.159 --> 56:00.519
and of the wool industry in
Castile--

56:00.518 --> 56:04.168
It's still very important,
and I have been suddenly in a

56:04.166 --> 56:07.546
Castilian town and a whole sea
of sheep come by,

56:07.550 --> 56:10.600
they are being herded to the
north or to the south,

56:10.599 --> 56:13.369
as the case may be.

56:13.369 --> 56:17.159
Wool was a very important
product of Castile,

56:17.164 --> 56:20.274
as you have read in the
Elliott, and,

56:20.268 --> 56:25.008
of course, this sheep at the
distance could look like an

56:25.010 --> 56:25.960
army.

56:25.960 --> 56:32.520
So Cervantes is reflecting here
not only the reality of everyday

56:32.521 --> 56:38.041
life, but also the broader,
socioeconomic realities of

56:38.039 --> 56:40.539
Spain of the period.

56:40.539 --> 56:44.949
Don Quixote translates
everything that reminds him of

56:44.945 --> 56:49.685
the world or romances of
chivalry into their language.

56:49.690 --> 56:52.930
His arguments with Sancho and
others about the nature of the

56:52.934 --> 56:55.634
real are one of the sources of
humor in the novel,

56:55.630 --> 56:56.400
of course.

56:56.400 --> 56:59.910
Here, Cervantes displays his
own gift for linguistic

56:59.907 --> 57:01.487
invention and parody.

57:01.489 --> 57:05.019
The names of the knights
involved are hilarious,

57:05.018 --> 57:08.398
as is his description of the
imaginary battle,

57:08.396 --> 57:10.496
has a mock epic quality.

57:10.500 --> 57:13.690
Don Quixote,
hurt by stones whose names,

57:13.690 --> 57:16.540
almonds, they're called at one
point,

57:16.539 --> 57:20.429
understate their ability to
hurt, lose its teeth,

57:20.429 --> 57:23.889
as he had before lost part of
an ear.

57:23.889 --> 57:26.619
These are the scars of time on
his body that I have mentioned

57:26.619 --> 57:27.029
before.

57:27.030 --> 57:30.270
His body has diminished as the
work progresses,

57:30.268 --> 57:33.518
contributing to his sorry
appearance and leading to the

57:33.519 --> 57:36.469
name that Sancho gives him in
the next episode.

57:36.469 --> 57:41.099
Notice that Don Quixote kills
several sheep and that he has,

57:41.101 --> 57:43.771
again, been involved in a
fight.

57:43.768 --> 57:47.438
Hence, he has committed crimes
that come under the jurisdiction

57:47.440 --> 57:50.730
of the Holy Brotherhood,
so besides the disputes about

57:50.726 --> 57:54.276
the real and the parody of the
romances of chivalry it must be

57:54.277 --> 57:57.417
noted that Don Quixote and
Sancho are criminals who are

57:57.420 --> 57:59.050
fugitives from justice.

57:59.050 --> 58:06.030
Now, I want you to--I'm sure
you did--that Don Quixote and

58:06.032 --> 58:10.322
Sancho vomit on each other,
here.

58:10.320 --> 58:18.690
And I want to ponder about this
little episode.

58:18.690 --> 58:22.060
We already saw the purging
involved in the character's

58:22.056 --> 58:24.976
evacuations, but here,
I believe, that there is

58:24.978 --> 58:26.438
another suggestion.

58:26.440 --> 58:30.400
I was going to read you that
passage, but the time is short,

58:30.398 --> 58:32.478
but I'm sure you remember it.

58:32.480 --> 58:39.150
Vomiting here and in the inn
suggest the existence of a

58:39.152 --> 58:45.212
concretely repulsive language of
pure meanings.

58:45.210 --> 58:49.450
The mouth, amidst concrete,
it's a language whose effect is

58:49.447 --> 58:53.467
repulsion, mutual repulsion,
but that is never a form of

58:53.465 --> 58:54.775
communication.

58:54.780 --> 58:58.340
One vomit elicits--that it is
nevertheless,

58:58.338 --> 59:02.998
a form of communication--one
vomit elicits the other.

59:03.000 --> 59:06.390
It is in this sense a pure
language, an ironic fusion of

59:06.389 --> 59:07.559
words and things.

59:07.559 --> 59:10.969
If you think that words merely
reflect reality,

59:10.965 --> 59:14.075
vomit is reality itself
expressed as words,

59:14.077 --> 59:16.667
this is what I'm trying to say.

59:16.670 --> 59:22.620
Vomit contains objects,
not signs, and produces bodily

59:22.617 --> 59:27.037
effects as when,
in the case in the next

59:27.043 --> 59:32.033
episode, when Don Quixote smells
Sancho's feces,

59:32.030 --> 59:39.780
another expression on the part
of Sancho,

59:39.780 --> 59:42.460
and he asks him to move away.

59:42.460 --> 59:46.200
This consideration of language
dovetails with all of the

59:46.204 --> 59:50.434
meditations about language and
literature that are in the book,

59:50.427 --> 59:52.537
and it is very appropriate.

59:52.539 --> 59:55.399
I think that it should occur in
an episode,

59:55.400 --> 59:59.140
where there is such a marvelous
display of literary language in

59:59.144 --> 1:00:02.774
the description of these battles
and all of these knights.

1:00:02.768 --> 1:00:06.788
So we have that literary
language, and then,

1:00:06.791 --> 1:00:11.841
this concrete language of
vomit, when they express each

1:00:11.844 --> 1:00:14.094
other in such a way.

1:00:14.090 --> 1:00:20.160
I think that I'm going to leave
the next two episodes for the

1:00:20.161 --> 1:00:24.481
next class,
the one about the dead body,

1:00:24.478 --> 1:00:29.648
because there is very
significant moment there when

1:00:29.653 --> 1:00:36.283
Sancho names Don Quixote The
Knight of the Sorrowful Figure,

1:00:36.280 --> 1:00:38.740
and also the one of the
fulling-hammers,

1:00:38.739 --> 1:00:42.929
to which I have just alluded
because of this hilarious moment

1:00:42.932 --> 1:00:45.522
when Sancho defecates out of
fear,

1:00:45.518 --> 1:00:52.818
and so we shall move on with
next series of episodes,

1:00:52.820 --> 1:00:55.570
too, which take us to the core
of Part I.

1:00:55.570 --> 1:00:58.810
The core of Part I,
which are the episodes that

1:00:58.813 --> 1:01:01.213
take place in the Sierra Morena.

1:01:01.210 --> 1:01:07.000