WEBVTT 00:01.300 --> 00:04.130 Prof: I have been speaking in the last lectures 00:04.131 --> 00:06.911 about the ending of Part I of the Quixote, 00:06.910 --> 00:11.770 and today we finally get to the end of the novel. 00:11.770 --> 00:15.490 I remind you, again, that although you have 00:15.493 --> 00:21.253 both parts bound as one book-- we all have it bound as one 00:21.252 --> 00:27.102 book--this is the end of the novel Cervantes set out to 00:27.097 --> 00:31.537 write, that he had no specific plan to 00:31.537 --> 00:36.077 write a second part, which would not be published 00:36.077 --> 00:41.247 anyway until a decade later, in 1615. 00:41.250 --> 00:48.440 It is very easy to make the mistake that what we're coming 00:48.443 --> 00:55.513 to now is a provisional ending, so avoid that mistake. 00:55.510 --> 01:00.190 It is very easy to make, because of the book being bound 01:00.192 --> 01:05.392 together, and also because of the very nature of the ending of 01:05.385 --> 01:08.275 Part I that is so complicated. 01:08.280 --> 01:12.670 It is also easy to fall in that mistake because you know that 01:12.670 --> 01:15.890 Part II is coming as part of your course, 01:15.890 --> 01:19.510 and that you are going to read it, but not the readers of the 01:19.512 --> 01:23.322 1605 Quixote in 1605 did not have a second part that they 01:23.316 --> 01:27.796 knew they were going to read, so I want to dispel the notion 01:27.796 --> 01:30.626 that this is a provisional ending. 01:30.629 --> 01:35.049 This is the ending of the novel as Cervantes conceived it. 01:35.050 --> 01:41.410 There are critics who seem to see in the ending hints that 01:41.411 --> 01:48.331 Cervantes planned a second part, but they are at best hints. 01:48.330 --> 01:52.250 Because second parts were often written in the sixteenth 01:52.254 --> 01:55.904 century, second parts of chivalric romances had many 01:55.896 --> 01:56.606 parts. 01:56.610 --> 01:59.100 The Celestina had many second parts, 01:59.099 --> 02:01.579 the Lazarillo had second parts, 02:05.299 --> 02:08.089 part, so it is conceivable to see in 02:08.092 --> 02:11.752 some of those hints the possibility that Cervantes 02:11.753 --> 02:14.523 thought of writing a second part, 02:14.520 --> 02:18.090 but it is not part of the plan of the 1605 Quixote, 02:18.089 --> 02:23.209 which stands on its own, or was designed to stand on its 02:23.210 --> 02:24.870 own as a book. 02:24.870 --> 02:29.760 It is almost impossible to buy it today separately, 02:29.764 --> 02:30.944 of course. 02:30.938 --> 02:35.418 Now, ending the Quixote is a difficult thing to do 02:35.419 --> 02:39.979 because it is no ordinary story with a clear beginning; 02:39.979 --> 02:43.399 that is, the birth of the hero, for instance, 02:43.400 --> 02:48.140 and a linear plot in which the protagonist pursues a goal that 02:48.141 --> 02:51.331 he either attains or fails to attain; 02:51.330 --> 02:54.520 hence, he is defeated or he dies. 02:54.520 --> 02:59.960 It is not a love story like the subordinate stories that we have 02:59.961 --> 03:04.971 just seen being resolved at the end in which the lovers get 03:04.973 --> 03:09.383 married and presumably live happily ever after. 03:09.378 --> 03:13.738 The Quixote, as we have seen from start, 03:13.735 --> 03:18.655 from the prologue to be specific, is a meta-novel; 03:18.658 --> 03:24.638 a novel about the writing of a novel among other things like; 03:24.639 --> 03:31.849 it's a kind of meta-chivalric romance in that it is a parody 03:31.853 --> 03:34.913 of a chivalric romance. 03:34.910 --> 03:38.400 Meta-novel is a novel that includes a novel about the 03:38.396 --> 03:39.936 writing of the novel. 03:39.940 --> 03:43.180 This is quite common in avant-garde fiction in the 03:43.181 --> 03:47.121 twentieth century, but it is the first time that 03:47.123 --> 03:51.443 it happens in literature in the Quixote, 03:51.440 --> 03:57.700 to have this dimension of criticism of the novel included 03:57.699 --> 04:00.159 in the novel itself. 04:00.158 --> 04:07.178 So the business of bringing it to a close is a complicated one 04:07.180 --> 04:13.050 that involves closing several narrative strands, 04:13.050 --> 04:18.770 plus the commentary or meta novel part about the composition 04:18.769 --> 04:22.169 of the novel-- You can't just come to the end 04:22.172 --> 04:23.762 and say, the hero failed, 04:23.759 --> 04:24.909 died, got married. 04:24.910 --> 04:28.790 No, no, no, you still have to deal with all of this commentary 04:28.785 --> 04:32.465 on the writing of the novel, which is part of the novel. 04:32.470 --> 04:34.690 How do you end that? 04:34.685 --> 04:41.545 How do you close that?--I will anticipate that you have already 04:41.553 --> 04:46.013 read that ending, because the only possible 04:46.007 --> 04:50.177 ending to that narrative level is the prologue, 04:50.180 --> 04:54.980 with all of its hesitations about how to write it, 04:54.980 --> 04:57.840 which means, with all of the problems about 04:57.843 --> 05:01.483 how to close the book; the last episode of that 05:01.480 --> 05:04.730 meta-fictional level is the prologue, 05:04.730 --> 05:15.000 because closing the book, which we literally do when we 05:14.997 --> 05:18.287 finish, has many implications, 05:18.286 --> 05:22.006 the most important of which is that it implies or includes a 05:22.007 --> 05:24.237 statement, by just doing it, 05:24.240 --> 05:27.840 about the structure, about the shape of the 05:27.836 --> 05:30.156 book--Endings, as I've mentioned, 05:30.163 --> 05:33.543 are very important, and I believe that I mentioned 05:33.540 --> 05:37.110 the best book on the subject by Frank Kermode, 05:37.110 --> 05:40.030 The Sense of an Ending. 05:40.029 --> 05:43.259 It's a brief but very, very smart book that I 05:43.264 --> 05:47.014 recommend, if you're in literature, that you pick up 05:47.012 --> 05:48.632 some day and read. 05:48.629 --> 05:53.209 So closing the book--after you've got to the end and you 05:53.209 --> 05:55.899 close it-- has many implications 05:55.903 --> 06:00.583 about--it's a statement about the structure of the book, 06:00.579 --> 06:01.879 the very fact that it has an ending, 06:01.879 --> 06:04.709 that you can close it. 06:04.709 --> 06:08.739 These are the reasons why we do have several endings or closures 06:08.740 --> 06:12.770 and why the prologue has to be the final or overarching one, 06:12.769 --> 06:18.539 which necessarily suggests circularity and self enclosure-- 06:18.540 --> 06:22.760 if you come back to the beginning and make it the end-- 06:22.759 --> 06:27.619 and this circularity and this self enclosure, 06:27.620 --> 06:33.390 we saw, is one of the characteristics of the novel, 06:33.389 --> 06:35.739 of the Quixote, which is a fiction based on 06:35.735 --> 06:38.625 fictions, and in where there are, 06:38.634 --> 06:42.644 or there seem to be, no way out of the fiction, 06:42.639 --> 06:46.539 because even the very author whose name is on the cover is 06:46.541 --> 06:48.801 contained within that fiction. 06:48.800 --> 06:52.490 Miguel de Cervantes is contained in the scrutiny of the 06:52.492 --> 06:54.302 books; remember, his novel La 06:54.298 --> 06:57.718 Galatea is mentioned; and then, Juan de Saavedra is 06:57.718 --> 07:01.588 mentioned in the captive's tale; that's one of Cervantes' last 07:01.593 --> 07:04.423 names; so it's also an allusion to 07:04.416 --> 07:05.936 himself; Rinconete and 07:05.942 --> 07:07.792 Cortadillo, the story that you read for 07:07.790 --> 07:09.840 today, is a Cervantes story that is 07:09.838 --> 07:12.498 contained, so even the author whose name 07:12.502 --> 07:15.702 is stamped on the cover is within the fiction. 07:15.699 --> 07:20.179 So I will discuss several episodes that constitute partial 07:20.177 --> 07:24.967 endings, but reminding you that the ending is the prologue. 07:24.970 --> 07:31.840 The first of those episodes has to do with the en-closure, 07:31.839 --> 07:34.659 with the enclosure of Don Quixote--I'm playing with the 07:34.660 --> 07:37.880 word enclosure-- by which I mean his caging. 07:37.879 --> 07:41.629 Caging Don Quixote is a literal form of closure, 07:41.632 --> 07:43.152 you close him in. 07:43.149 --> 07:48.059 It takes him out of circulation for good, as the character that 07:48.060 --> 07:50.280 he invented himself to be. 07:50.279 --> 07:53.899 So I'm seeing, even in the act of enclosure of 07:53.904 --> 07:57.054 the character, a form, a kind of ending, 07:57.047 --> 07:58.897 a formal enclosure. 07:58.899 --> 08:05.899 Now, Don Quixote is an outlaw, as we saw in the arrest order 08:05.901 --> 08:10.651 read by the Holy Brotherhood trooper-- 08:10.649 --> 08:12.459 remember, the one who can't read very well-- 08:12.459 --> 08:16.519 who apprehends him after the fracas at the inn. 08:16.519 --> 08:20.619 Being a criminal, others, particularly the 08:20.617 --> 08:26.007 priest, have to argue Don Quixote's case to prevent the 08:26.012 --> 08:30.612 Holy Brotherhood from taking him prisoner. 08:30.610 --> 08:33.480 Remember, this crime is against the Crown, 08:33.480 --> 08:37.110 because the galley slaves were under the purview of the Crown, 08:37.110 --> 08:39.570 so he would have been taken by the Holy Brotherhood, 08:39.570 --> 08:42.140 arrested and perhaps even executed. 08:42.139 --> 08:44.989 Remember that Sancho says, at some point, 08:44.990 --> 08:47.820 that he can hear the arrows of the Holy Brotherhood buzzing 08:47.822 --> 08:50.472 around his ears, because of course, 08:50.474 --> 08:56.134 Sancho being a commoner is more liable to be arrested by the 08:56.126 --> 08:59.066 Holy Brotherhood, whereas Don Quixote, 08:59.066 --> 09:01.496 being an hidalgo, perhaps thought that he was 09:01.496 --> 09:02.176 above the law. 09:02.178 --> 09:07.008 But in any case, the others, the priest, 09:07.009 --> 09:12.969 particularly, have to argue that Don Quixote 09:12.969 --> 09:21.279 be released into their custody because the priest argues very 09:21.284 --> 09:24.994 persuasively, like a lawyer, 09:24.985 --> 09:29.635 being insane Don Quixote would never be kept in jail; 09:29.639 --> 09:31.189 he would never be convicted. 09:31.190 --> 09:34.920 The insanity defense existed in Spanish law since the thirteenth 09:34.918 --> 09:38.838 century; so an insane man would be 09:38.837 --> 09:40.167 released. 09:40.168 --> 09:47.678 Again, Don Quixote's insanity puts him above or beyond the 09:47.678 --> 09:48.468 law. 09:48.470 --> 09:53.130 It is his most significant characteristic as a literary 09:53.128 --> 09:57.268 character, and being insane he accepts no law. 09:57.269 --> 10:02.409 But why is he caged, and not simply arrested and 10:02.413 --> 10:07.563 taken home in shackles, sitting on Rocinante? 10:07.558 --> 10:12.078 Why is it that at the end Don Quixote's freedom has to be 10:12.081 --> 10:15.231 denied in such a spectacular fashion? 10:15.230 --> 10:18.650 And I mean spectacular, because this caging of Don 10:18.645 --> 10:22.895 Quixote and being carried home in this case is a spectacle. 10:22.899 --> 10:29.589 There are two plot strands that are winding up here. 10:29.590 --> 10:35.080 First, Don Quixote's quest, and second, the priest and the 10:35.081 --> 10:40.961 barber's own quest to return him home possibly to be cured. 10:40.960 --> 10:47.160 This is what justifies the charade of the masks. 10:47.158 --> 10:50.508 Pragmatically, the farce is staged because if 10:50.509 --> 10:54.469 Don Quixote recognizes the barber and the priest, 10:54.470 --> 10:58.890 he will catch on about the plan to return him home and he might 10:58.888 --> 10:59.528 resist. 10:59.529 --> 11:03.129 But there is more to it. 11:03.129 --> 11:07.269 It is really only at the level of fiction that Don Quixote, 11:07.272 --> 11:11.632 the character that he himself has created, can be captured. 11:11.629 --> 11:16.879 Alonso Quixano, the hidalgo, 11:16.879 --> 11:20.079 the modest hidalgo from that place in la Mancha, 11:20.080 --> 11:23.370 can be arrested or apprehended, but not Don Quixote, 11:23.370 --> 11:26.590 who is an invented literary character, 11:26.590 --> 11:29.940 unless it is within the world of his fiction; 11:29.940 --> 11:32.530 hence the make-believe. 11:32.528 --> 11:40.258 And this is the scene of the caging on page 415 of the Jarvis 11:40.258 --> 11:44.958 translation: "They made a kind of cage 11:44.958 --> 11:48.208 with poles, great-wise, large enough to 11:48.207 --> 11:52.837 contain Don Quixote at his ease [this is at the bottom of page 11:52.835 --> 11:57.155 415]: and immediately Don Quixote and his companions, 11:57.158 --> 12:00.378 with Don Louis's servants, and the officers of the Holy 12:00.384 --> 12:03.834 Brotherhood, together with the innkeeper, 12:03.826 --> 12:08.646 all by the contrivance and direction of the priest, 12:08.649 --> 12:11.129 covered their faces, and disguised themselves, 12:11.129 --> 12:12.889 some one way, some another, 12:12.886 --> 12:16.806 so as to appear to Don Quixote to be quite other persons as 12:16.807 --> 12:19.307 those he had seen in that castle. 12:19.308 --> 12:22.328 This being done, with the greatest silence they 12:22.332 --> 12:25.622 entered the room where Don Quixote lay fast asleep, 12:25.619 --> 12:28.379 and not dreaming of any such accident; 12:28.379 --> 12:32.989 and laying fast hold of him, they bound him hand and foot, 12:32.990 --> 12:35.360 so that, when he awakened with a start, 12:35.360 --> 12:38.340 he could not stir, nor do anything but look round 12:38.336 --> 12:40.766 him, and wonder to see such strange 12:40.772 --> 12:42.042 visages about him. 12:42.038 --> 12:45.568 And presently he fell into the usual conceit that his 12:45.567 --> 12:49.637 disordered imagination was perpetually presenting to him, 12:49.639 --> 12:52.719 believing that all these shapes were goblins of that enchanted 12:52.724 --> 12:54.964 castle, and that, without all doubt, 12:54.964 --> 12:58.074 he must be enchanted, since he could not stir nor 12:58.072 --> 13:00.942 defend himself: all precisely as the priest, 13:00.940 --> 13:04.330 the projector of this stratagem, fancied it would fall 13:04.326 --> 13:04.706 out. 13:04.710 --> 13:07.250 Sancho alone, of all that were present, 13:07.245 --> 13:10.445 was in his perfect senses, and his own figure; 13:10.450 --> 13:13.060 and, though he wanted but little of being infected with 13:13.058 --> 13:16.498 his master's disease, yet he was not at a loss to 13:16.504 --> 13:20.574 know who all of these counterfeit goblins were; 13:20.570 --> 13:25.910 but he does not open his lips until he saw what this surprisal 13:25.914 --> 13:30.824 and imprisonment of his master meant [we're talking about 13:30.822 --> 13:32.402 Sancho]." 13:32.399 --> 13:36.849 The irony here, in this episode, 13:36.852 --> 13:44.472 is that Don Quixote has communicated to the others the 13:44.467 --> 13:51.937 freedom to act out whatever fantasies they have. 13:51.940 --> 13:54.020 Isn't this contradictory? 13:54.019 --> 13:55.689 He is caged. 13:55.690 --> 13:59.350 Forgiven them, allowing them the freedom to 13:59.347 --> 14:01.087 cage him in a way. 14:01.090 --> 14:05.560 He has contaminated them with the imaginative freedom that he 14:05.556 --> 14:06.446 practices. 14:06.450 --> 14:10.860 This theme began with the story of Dorotea becoming Princess 14:10.860 --> 14:15.350 Micomicona and her acting out a chivalric romance invented on 14:15.346 --> 14:19.526 the spot by the priest and performed by her as the priest 14:19.532 --> 14:22.002 invents this whole charade. 14:22.000 --> 14:25.160 This whole charade, which is like a brief 14:25.155 --> 14:29.885 theatrical piece or interlude taking place in the darkness of 14:29.890 --> 14:33.680 the inn, is like the episode of a nightmare. 14:33.678 --> 14:37.908 Don Quixote awakens to find himself bound and surrounded by 14:37.914 --> 14:41.644 what seemed like goblins who put him in the cage. 14:41.639 --> 14:45.719 But is this a dream, or is this reality? 14:45.720 --> 14:48.340 He's dealing here--Cervantes--with a theme 14:48.336 --> 14:51.646 that was very common in the sixteenth and seventeenth 14:51.654 --> 14:55.364 centuries and that was made famous in a play called Life 14:55.355 --> 14:58.955 is a Dream, by a playwright called 15:04.250 --> 15:10.760 15:10.759 --> 15:17.059 This is a play from the 1630s, but you can see that the theme 15:17.062 --> 15:22.422 is here of--if it's real life or this is a dream. 15:22.418 --> 15:27.018 He has gone from being asleep to finding himself surrounded by 15:27.024 --> 15:30.954 these strange figures in the darkness of the inn, 15:30.950 --> 15:34.270 so what could it be if not some sort of nightmare? 15:34.269 --> 15:36.819 So he believes that he is enchanted. 15:36.820 --> 15:39.540 In the cage, Don Quixote is like the 15:39.542 --> 15:42.112 prisoner he is, in the sense that, 15:42.109 --> 15:46.859 because prisoners were paraded through the streets as a lesson 15:46.855 --> 15:48.095 to others. 15:48.100 --> 15:52.270 Prisoners were routinely--I think, 15:52.269 --> 15:54.129 even up through the nineteenth century-- 15:54.129 --> 15:56.589 paraded through the streets of town, 15:56.590 --> 16:03.120 in carts or walking or being flogged and so forth as a lesson 16:03.123 --> 16:04.433 to others. 16:04.428 --> 16:09.308 Part of their punishment was their punishment being made 16:09.312 --> 16:12.652 public, so it was no unusual for them 16:12.653 --> 16:14.203 to be, probably, mostly, 16:14.200 --> 16:17.220 riding donkeys and stuff they were paraded through towns, 16:17.220 --> 16:18.570 but also in carts. 16:18.570 --> 16:27.820 He is also like a circus freak show, 16:27.820 --> 16:32.450 that's what this shows, and you will see one or two in 16:32.447 --> 16:36.897 second part of the Quixote traveled around in 16:36.899 --> 16:39.499 carts, and, in fact, 16:39.501 --> 16:47.211 plays were staged in carts in town squares throughout Spain. 16:47.210 --> 16:50.270 That is, the company came in the carts and the carts opened 16:50.268 --> 16:53.358 up and became the stage; so the cart here is an 16:53.360 --> 16:58.130 important and significant means of communication of taking Don 16:58.134 --> 17:02.834 Quixote around as a prisoner and also as some sort of a freak 17:02.828 --> 17:05.198 show, the continuation of the 17:05.196 --> 17:08.996 theatrical episode of the charade to put him in the cage. 17:09.000 --> 17:17.280 So this emphasizes that theatrical quality that I 17:17.278 --> 17:19.348 mentioned. 17:19.348 --> 17:23.148 An important part of the charade is the prophecy 17:23.152 --> 17:27.682 contrived and delivered in dramatic highly affected tones 17:27.682 --> 17:31.032 by the barber, which foretells of the future 17:31.027 --> 17:34.477 of Don Quixote as knight, projecting a potential ending 17:34.480 --> 17:37.840 to the story on that fictional level which satisfies Don 17:37.837 --> 17:38.507 Quixote. 17:38.509 --> 17:42.139 Like the priest, the barber is an author, 17:42.144 --> 17:44.694 but also an actor besides. 17:44.690 --> 17:49.350 I cannot do justice in my performance, 17:49.348 --> 17:52.888 particularly in Jarvis' eighteenth century English and 17:52.886 --> 17:59.046 with my Cuban accent, but this is the prophecy by the 17:59.047 --> 18:02.727 barber: "O Knight of the Sorrowful 18:02.730 --> 18:03.340 Figure! 18:03.338 --> 18:06.848 let not the confinement you are under afflict you; 18:06.848 --> 18:08.948 for it is expedient, it should be so, 18:08.946 --> 18:11.856 for the more speedy accomplishment of the adventure 18:11.861 --> 18:14.601 in which your great valour has engaged you; 18:14.598 --> 18:19.248 which shall be finished when the furious Manchegan lion shall 18:19.247 --> 18:22.497 be coupled with the white Tobosan dove, 18:22.500 --> 18:26.130 after having submitted their stately necks to the soft 18:26.134 --> 18:28.744 matrimonial yoke: from which unheard-of 18:28.740 --> 18:32.650 conjunction shall spring into the light of the world brave 18:32.648 --> 18:35.748 whelps, which shall emulate the tearing 18:35.752 --> 18:37.692 claws of the valorous sire. 18:37.690 --> 18:41.230 And this shall come to pass before the pursuer of the 18:41.227 --> 18:45.307 fugitive nymph shall have made two rounds to visit the bright 18:45.309 --> 18:48.779 constellations in his rapid and natural course. 18:48.779 --> 18:53.399 And thou, O the most noble and obedient squire that ever had 18:53.398 --> 18:55.918 sword in belt, beard on face, 18:55.923 --> 19:00.223 and smell in nostrils, be not dismayed nor afflicted 19:00.218 --> 19:03.938 to see the flower of knight-errantry carried thus 19:03.939 --> 19:05.799 away from thine eyes! 19:05.798 --> 19:09.708 for, ere long [before long], if it so please the fabricator 19:09.711 --> 19:12.351 of the world, thou shalt see thyself so 19:12.353 --> 19:15.983 exalted and sublimated that thou shalt not know thyself, 19:15.980 --> 19:20.350 and shalt not be defrauded of the promises made thee by thy 19:20.349 --> 19:21.329 noble lord. 19:21.328 --> 19:24.138 And I assure you, in the name of Sage 19:24.144 --> 19:27.884 Mentironiana [Mentironiana, from the word in Spanish 19:27.882 --> 19:30.842 'mentira' for lie, this is the Sage] 19:30.844 --> 19:34.704 that thy wages shall be punctually paid thee, 19:34.700 --> 19:37.890 as thou will see it effect: follow, 19:37.890 --> 19:41.000 therefore, the footsteps of the valorous and enchanted knight, 19:41.000 --> 19:44.210 for it is expedient for you to go where you may both rest: 19:44.207 --> 19:46.737 and because I am permitted to say no more, 19:46.740 --> 19:49.870 God be with you: for I return I well know 19:49.867 --> 19:51.117 whither." 19:51.118 --> 19:55.828 So this is the prophecy invented on the spot and 19:55.832 --> 20:02.272 delivered by the barber, who is, as we can see, 20:02.265 --> 20:09.265 quite a ham himself, and also quite able to imitate 20:09.270 --> 20:12.990 the speech of chivalric romances. 20:12.990 --> 20:19.430 This is the peak of playacting in the Quixote. 20:19.430 --> 20:22.110 By the way, you can see the prophecy that this is a 20:22.112 --> 20:25.332 projected ending of the novel; that is Don Quixote and 20:25.330 --> 20:28.790 Dulcinea will marry and have children, and so forth. 20:28.788 --> 20:31.888 So, you see, this is the projected ending 20:31.893 --> 20:35.853 within the fictions, or beyond even the fictions Don 20:35.849 --> 20:37.789 Quixote has invented. 20:37.788 --> 20:42.108 So this is yet another level, those levels that the novel 20:42.114 --> 20:45.284 shows throughout created by characters. 20:45.279 --> 20:48.829 This is the peak of playacting in the Quixote, 20:48.828 --> 20:52.988 a culminating performance that among other things displays 20:52.991 --> 20:55.841 Cervantes's talents as a playwright, 20:55.838 --> 20:58.498 particularly a playwright of the interludes, 20:58.500 --> 21:01.590 the entremeses, the funny skits that he wrote. 21:01.588 --> 21:05.128 Juan Palomeque's inn, which has been used as a court 21:05.126 --> 21:09.496 of law and as a debating meeting room where they debate what the 21:09.497 --> 21:13.077 basin is and so forth, is now transformed into a 21:13.075 --> 21:16.685 theater as Don Quixote is finally dismissed from it. 21:16.690 --> 21:19.810 This, too, is one of the endings of the 1605 21:19.813 --> 21:23.013 Quixote and the novel has several, 21:23.009 --> 21:25.989 as I mentioned, and as we saw in the last class 21:25.993 --> 21:28.723 when I discussed the restitutions made-- 21:28.720 --> 21:32.450 Excuse me, we have a visitor in the class, 21:32.450 --> 21:36.060 an insect who is crawling in the middle of the room... 21:36.058 --> 21:48.828 This is an added show free of charge by this bug. 21:48.829 --> 21:54.389 Elena, maybe you can capture it. 21:54.390 --> 21:55.580 Shall we kill it or not? 21:55.579 --> 21:58.129 No. 21:58.130 --> 22:04.170 What is it? 22:04.170 --> 22:06.170 It came out of Toby's bag. 22:06.170 --> 22:11.280 I'm sorry. 22:11.278 --> 22:20.728 Well, if you can possibly pay attention to my lecture. 22:20.730 --> 22:26.200 So please let us make a pause, an interlude, 22:26.204 --> 22:32.954 while Toby, the valorous knight, delivers us from this 22:32.953 --> 22:38.433 monster, who is very elusive, it seems. 22:38.430 --> 23:33.800 23:33.798 --> 23:40.328 So this, too, is one of the endings of the 23:40.334 --> 23:45.544 1605 Quixote, and the novel has several, 23:45.535 --> 23:47.745 as I mentioned, and as we saw in the last 23:47.750 --> 23:50.460 class, and we discussed the various restitutions to those 23:50.462 --> 23:51.822 who had suffered damages. 23:51.818 --> 23:54.388 This ending is the most consistent; 23:54.390 --> 23:58.270 the prophecy with the fictional world generated by Don Quixote 23:58.267 --> 24:01.887 and now inhabited by all of the characters around him, 24:01.890 --> 24:05.680 except for Sancho, who knows what is going on but 24:05.679 --> 24:08.599 prudently chooses not to intervene. 24:08.598 --> 24:14.188 So now, we go on the road, and we meet one of the most 24:14.192 --> 24:19.512 memorable characters in Part I, the Canon of Toledo, 24:19.508 --> 24:24.518 who is traveling with a retinue and meets this very strange 24:24.519 --> 24:29.879 caravan carrying Don Quixote and stops to find out what this is 24:29.876 --> 24:33.586 all about, and after he does, 24:33.590 --> 24:39.070 the canon, Don Quixote, and the priest engage in a 24:39.073 --> 24:43.993 discussion about commonplaces of literary theory about the 24:43.991 --> 24:49.781 romances of chivalry, and about mostly Aristotle's 24:49.782 --> 24:51.862 Poetics. 24:51.858 --> 24:57.478 Now, the relevant background texts here are the 25:08.469 --> 25:10.829 Pinciano," 1596-- in Spanish we write 25:12.849 --> 25:16.539 today with an 'f,' that's just the old fashioned spelling-- 25:16.538 --> 25:23.128 and Lope de Vega's Arte nuevo de hacer comedias en este 25:23.131 --> 25:25.521 tiempo, 1609, which is, 25:25.519 --> 25:27.979 of course, published after the Quixote, 25:27.980 --> 25:34.200 but which deals with topics that are very relevant to this 25:34.198 --> 25:35.288 episode. 25:39.910 --> 25:44.370 which el Pinciano expounds literary theory mostly derived 25:44.372 --> 25:47.242 from Aristotle's Poetics. 25:47.240 --> 25:53.300 Now, it is one of the great ironies of literary history that 25:53.303 --> 25:58.953 Cervantes was wildly innovative in narrative fiction but 25:58.954 --> 26:03.584 exceedingly conservative in the theater, 26:03.578 --> 26:06.978 except when writing his brief comic of interludes. 26:06.980 --> 26:10.960 I don't have to emphasize now how he was wildly innovative in 26:10.961 --> 26:12.291 narrative fiction. 26:12.288 --> 26:16.838 About the theater, this episode is a vicious 26:16.844 --> 26:22.594 critique of Lope de Vega, his enemy Lope de Vega, 26:22.588 --> 26:28.748 because Lope de Vega wrote plays that did not follow 26:28.752 --> 26:35.272 Aristotle's Poetics, the rules of unity of action, 26:35.273 --> 26:37.983 and of plays, and of time; 26:37.980 --> 26:40.930 everything had to happen in one day, and one place, 26:40.925 --> 26:43.515 and there was only one plot, and so forth. 26:43.519 --> 26:49.589 Lope flaunted all of these rules and his plays were 26:49.593 --> 26:56.153 historical plays that were dubiously accurate about the 26:56.152 --> 26:57.612 history. 26:57.608 --> 26:58.938 He just made it up, like Shakespeare. 26:58.940 --> 27:03.310 He was a great innovator who wrote thousands of plays, 27:03.306 --> 27:07.586 and who really couldn't care less about the rules. 27:07.588 --> 27:12.238 He invented the Spanish National Theater by not 27:12.237 --> 27:14.457 following the rules. 27:14.460 --> 27:17.360 But there were those, like Cervantes himself who 27:17.363 --> 27:22.573 criticized him for that; and he replied in 1609 in this 27:22.568 --> 27:29.528 very hilarious poem called The New Art About How to Make 27:29.528 --> 27:35.298 Plays at This Time-- the title is very polemical, 27:35.296 --> 27:36.736 as you can see. 27:36.740 --> 27:39.620 "Arte," art, is supposed to be eternal and 27:39.624 --> 27:43.324 it says "new art," new art is an oxymoron, 27:43.319 --> 27:46.429 art cannot be new or old; it's always the same, 27:46.432 --> 27:49.182 supposedly, if you follow the Poetics; 27:49.180 --> 27:53.440 to write comedies "at this time," now, 27:53.442 --> 27:55.532 not in the past: now. 27:55.529 --> 27:57.159 And so Lope was wildly innovative. 27:57.160 --> 28:01.490 And he, as I've mentioned before, just took over the 28:01.487 --> 28:05.877 Spanish theater, and Cervantes with his plodding 28:05.876 --> 28:10.796 plays that followed the Poetics did not have much 28:10.804 --> 28:11.794 success. 28:11.788 --> 28:18.068 He did write have a few staged, and then he had the interludes 28:18.066 --> 28:21.146 also staged, and a book of this appeared, 28:21.153 --> 28:23.853 and I will speak about that when I speak about the 28:23.854 --> 28:26.504 transition between the first and second part. 28:26.500 --> 28:29.920 But it is an irony that Cervantes, who was so innovative 28:29.920 --> 28:32.160 in the prose, was so conservative; 28:32.160 --> 28:34.870 so he is using, of course, the canon and the 28:34.865 --> 28:38.825 priest to criticize Lope de Vega for all of these irregularities 28:38.829 --> 28:39.899 in his plays. 28:39.900 --> 28:43.220 Peter Russell, who was a very reputable 28:43.222 --> 28:47.162 English cervantista, Cervantes scholar, 28:47.157 --> 28:51.337 writes, quote: "The discussion among the 28:51.338 --> 28:56.458 three characters [about theory] has little bearing on the kind 28:56.461 --> 29:01.331 of discoveries about fiction that Cervantes has been making 29:01.334 --> 29:03.774 empirically in his book. 29:03.769 --> 29:06.089 Hardly a word is said in it, for example, 29:06.086 --> 29:07.706 about comic writing." 29:07.710 --> 29:08.810 It is true. 29:08.808 --> 29:11.948 I think that Russell is right, that Cervantes considered all 29:11.949 --> 29:14.609 of the theoretical issues the canon puts forth, 29:14.608 --> 29:17.948 but that in practice he did not adhere to any of them, 29:17.950 --> 29:22.150 except that of verisimilitude, that the novel does not deviate 29:22.146 --> 29:26.466 from the imitation of nature, that its characters never 29:26.473 --> 29:31.133 engage in supernatural actions, and that there are no actions 29:31.133 --> 29:34.933 that are beyond the credible; that is verisimilitude. 29:34.930 --> 29:38.910 The most interesting part of the discussion is when the canon 29:38.913 --> 29:42.833 and Don Quixote explore the possibilities of the romances of 29:42.830 --> 29:46.950 chivalry which, in the end, the canon winds up 29:46.954 --> 29:49.774 praising, because they afford the 29:49.766 --> 29:52.636 possibility of introducing variety, 29:52.640 --> 29:56.880 which is one Renaissance principle that Cervantes did 29:56.884 --> 29:57.624 follow. 29:57.618 --> 30:01.958 Besides, the canon himself confesses that he has written 30:01.955 --> 30:05.815 the first hundred pages of a chivalric romance. 30:05.819 --> 30:11.369 This is hilarious; he is the critic of chivalric 30:11.368 --> 30:14.868 romances, and this is a typical cervantean twist. 30:14.868 --> 30:18.508 We have seen that it was the priest who read out loud The 30:18.505 --> 30:21.515 Novel of the Curious Impertinent, and here the 30:21.523 --> 30:25.123 canon says: "'I myself,' replied the 30:25.118 --> 30:27.478 canon, 'was once tempted to write a 30:27.482 --> 30:30.862 book of knight-errantry, in which I purposed to observe 30:30.858 --> 30:33.448 all of the restrictions I have mentioned; 30:33.450 --> 30:36.280 and, to confess the truth, I had gone through above a 30:36.280 --> 30:37.860 hundred sheets of it: and, 30:37.858 --> 30:42.038 to try whether they answered my own opinion of it, 30:42.038 --> 30:44.768 I communicated it to some learned and judicious persons, 30:44.769 --> 30:47.199 who were very fond of this kind of reading, 30:47.200 --> 30:49.290 and to other persons who were ignorant, 30:49.288 --> 30:52.438 and regarded only the pleasure of reading extravagances; 30:52.440 --> 30:55.530 and I met with a kind approbation from all of them: 30:55.530 --> 30:58.190 nevertheless I would proceed no further, 30:58.190 --> 31:02.050 as well in regard that I looked upon it as a thing foreign to my 31:02.050 --> 31:04.660 profession, as because the number of the 31:04.660 --> 31:08.350 unwise is greater than that of the prudent: and though it is 31:08.346 --> 31:12.216 better to be praised by the few wise than mocked by a multitude 31:12.221 --> 31:14.721 of fools, yet I am unwilling to expose 31:14.722 --> 31:17.742 myself to the confused judgment of the giddy vulgar, 31:17.740 --> 31:28.450 to whose lot of the reading of such books for the most part 31:28.453 --> 31:32.373 falls.'" Don Quixote, 31:32.365 --> 31:36.945 for his part as in reply, makes up a chivalric interlude 31:36.946 --> 31:40.746 based on the story of the Knight of the Lake, 31:40.750 --> 31:45.690 which is quite remarkable and with which in a sense he wins 31:45.692 --> 31:46.802 the debate. 31:46.798 --> 31:53.408 Both the canon and Don Quixote are authors, as is the barber, 31:53.413 --> 31:56.833 and the priest, and so forth. 31:56.828 --> 32:01.708 Now, there is a very elegant joke embedded in this 32:01.713 --> 32:03.013 discussion. 32:03.009 --> 32:08.049 The canon, I maintain, is the "idle reader," 32:08.045 --> 32:11.745 the "desocupado lector" 32:11.750 --> 32:16.120 that Cervantes addressees in the prologue. 32:16.118 --> 32:18.038 Remember, that he really says "desocupado 32:18.038 --> 32:19.318 lector," idle reader. 32:19.318 --> 32:25.658 The joke is that canons were supposed to have cushy jobs that 32:25.661 --> 32:31.901 allowed them the time to read and devote themselves to other 32:31.896 --> 32:34.536 leisurely activities. 32:38.054 --> 32:42.174 was, and still is, a way of saying cushy life. 32:42.170 --> 32:54.830 Canons were in charge of reading canon law. 32:54.828 --> 32:57.978 They were in churches, and they were supposed to read 32:57.980 --> 32:59.860 canon law, and pass judgment. 32:59.859 --> 33:01.769 Canon law is church law. 33:01.769 --> 33:06.109 That is, when we talked about incest, 33:06.108 --> 33:08.948 and the prisoner of sex, who would determine what is 33:08.951 --> 33:11.941 incest and what is not, whom you can marry and whom you 33:11.935 --> 33:13.635 cannot marry, and what is a sin, 33:13.636 --> 33:15.176 and not a sin, and so forth. 33:15.180 --> 33:18.380 Canon law is very, very important; 33:18.380 --> 33:20.530 it's not to us anymore. 33:20.528 --> 33:23.168 And the separation between crime and sin is beginning in 33:23.167 --> 33:26.237 the seventeenth century and it's not quite accomplished until the 33:26.238 --> 33:28.788 nineteenth century, if you know what I mean. 33:28.788 --> 33:32.328 But canons had all of the time in the world to sit around and 33:32.327 --> 33:35.527 read, and so they were supposed to be 33:35.529 --> 33:39.119 well-fed, fat, and they had the time to 33:39.119 --> 33:43.909 read romances of chivalry and pass judgment as this. 33:43.910 --> 33:47.890 All of these figures of authority in Cervantes are 33:47.892 --> 33:50.252 always slightly ridiculous. 33:50.250 --> 33:56.520 They have some flaw or another, but here it's yet another 33:56.515 --> 34:00.315 author, another internal author. 34:00.318 --> 34:03.818 We have seen many in the Quixote: Don Quixote 34:03.815 --> 34:06.425 himself, the priest, the barber we just 34:08.260 --> 34:13.040 Cide Hamete Benengeli, the translator, 34:18.670 --> 34:20.850 The Quixote is literature within literature. 34:20.849 --> 34:24.419 Literature with its own internal rules discussed not 34:24.420 --> 34:28.150 from the outside; this is what is important here, 34:28.152 --> 34:32.652 the characters are discussing the nature of the work within 34:32.650 --> 34:34.280 which they appear. 34:34.280 --> 34:36.650 That is to say, that there is a seamless 34:36.650 --> 34:39.870 continuity between theory and practice at the level of 34:39.871 --> 34:42.791 discourse, but not at the level of ideology. 34:42.789 --> 34:46.449 That is to say, the novel does not comply with 34:46.454 --> 34:50.044 the theory propounded by the Canon of Toledo, 34:50.038 --> 34:53.538 but flows from within its own practice. 34:53.539 --> 34:57.589 Notice that the canon has not finished the novel that he 34:57.586 --> 34:59.826 begun, and that he also confesses that 34:59.829 --> 35:02.989 he's never finished reading the novels that he began reading; 35:02.989 --> 35:04.219 he never gets to the end. 35:04.219 --> 35:09.159 I think that Cervantes is pointing out here the difficulty 35:09.159 --> 35:13.169 of finishing a novel, and finishing this novel in 35:13.170 --> 35:16.310 particular, and that is more important than 35:16.309 --> 35:20.439 all of the common places about Aristotelian theory that the 35:20.442 --> 35:22.012 characters discuss. 35:22.010 --> 35:26.160 A little background on Aristotelian theory, 35:26.159 --> 35:35.139 although I think that the best thing to approach this passage 35:35.139 --> 35:43.169 of the Canon of Toledo which, of course, has generated a lot 35:43.170 --> 35:46.210 of criticism, because all you have to do is 35:46.213 --> 35:49.213 give a scholar a set of rules that were being propounded and a 35:49.208 --> 35:51.308 novel, and scholars think that art is 35:51.313 --> 35:56.243 written following rules; it is delusion of scholars and 35:56.235 --> 35:57.305 critics. 35:57.309 --> 36:03.739 But none of this theory can contain the narrative, 36:03.739 --> 36:06.309 the experiments in narrative that we have been observing in 36:06.306 --> 36:09.376 the Quixote, all of those various levels of 36:09.380 --> 36:12.460 fiction, all of these intertwined 36:12.458 --> 36:17.478 stories, all of these very wild, and at the same disciplined 36:17.476 --> 36:21.196 experiments about the nature of fiction that we find in the 36:21.195 --> 36:22.105 Quixote. 36:22.110 --> 36:27.030 All of that surpasses any theory that was expounded in the 36:27.025 --> 36:31.765 Spanish Golden Age in the sixteenth century or in Europe 36:31.768 --> 36:34.268 in the sixteenth century. 36:42.992 --> 36:45.572 by Plato and all of those discussions, 36:45.570 --> 36:49.150 because the poetics of the Quixote are contained in its 36:49.150 --> 36:52.570 own practice, and its own practice includes 36:52.568 --> 36:55.558 the discussion of its own poetics. 36:55.559 --> 36:59.519 But it does not take theory from outside and applies it to 36:59.516 --> 37:02.566 the Quixote; that would be foolish. 37:02.570 --> 37:08.650 What happens in the sixteenth century in literary theory, 37:08.646 --> 37:14.716 in the sixteenth century, is the well-worn debate between 37:14.724 --> 37:17.334 Plato and Aristotle. 37:17.329 --> 37:22.849 Plato was the first spoilsport in the history of criticism, 37:22.849 --> 37:29.379 because he thought that art was a negative influence in the 37:29.378 --> 37:32.548 republic, and he wanted to banish the 37:32.552 --> 37:36.672 poets because art appealed to the emotions and because art was 37:36.672 --> 37:39.992 based on imitation; it couldn't be itself, 37:39.992 --> 37:43.412 it was always an imitation of something. 37:43.409 --> 37:50.249 Although, Neo-Platonism is important in other realms of 37:50.253 --> 37:57.663 sixteenth century literature, that view of art and of poetry 37:57.664 --> 38:04.044 was countered by Aristotle's critique of Plato in which he 38:04.038 --> 38:08.778 departs from-- his point of departure, 38:08.784 --> 38:13.954 his baseline, is that humans tend to imitate; 38:13.949 --> 38:19.369 imitation is part of the human condition, and that therefore, 38:19.369 --> 38:24.609 art is inherent in the human animal because he imitates. 38:24.610 --> 38:26.750 That is, we are all "micomicones," 38:26.751 --> 38:29.891 if we remember that Princess Micomicona was about imitation, 38:29.889 --> 38:35.409 was about mimesis, that we are all monkeys, 38:35.409 --> 38:39.679 we imitate just like monkeys, and this is what Aristotle 38:39.684 --> 38:43.754 really propounds, that imitation is a good thing, 38:43.746 --> 38:47.866 and that imitation in art leads to a pleasurable, 38:47.869 --> 38:55.159 intellectual process that he favors; 38:55.159 --> 38:57.649 that is at the base of Aristotelian theory. 38:57.650 --> 39:01.210 Now, Aristotle then in the Poetics gives a series of 39:01.208 --> 39:05.008 rules that he bases on his own practice of reading the epic and 39:05.014 --> 39:08.884 the theater that is applied, slavishly sometimes, 39:08.880 --> 39:13.580 in the Renaissance with the Renaissance penchant for 39:13.577 --> 39:15.877 reviving the classics. 39:15.880 --> 39:18.310 That is basically what is at stake here. 39:18.309 --> 39:21.209 It's parallel to what I mentioned in the last class 39:21.210 --> 39:24.520 about the rules of government that are being drawn up then 39:24.518 --> 39:27.478 from Machiavelli on and it's very much a part of the 39:27.476 --> 39:30.026 Renaissance who try to draw up rules, 39:30.030 --> 39:33.750 and the rules of behavior that were contained in Baltasare 39:33.750 --> 39:36.100 Castiglione's The Courtier. 39:36.099 --> 39:39.229 These are all parallel movements. 39:39.230 --> 39:43.870 But in the case of the Quixote none of this theory 39:43.873 --> 39:47.453 is ultimately relevant, it is contained within it, 39:47.454 --> 39:52.954 it is discussed, but it does not drive the book, 39:52.945 --> 39:57.885 it does not control the poetics, 39:57.889 --> 40:01.519 Cervantes's poetics in the Quixote, 40:01.518 --> 40:07.868 which surpasses all of that by quite a bit. 40:07.869 --> 40:13.819 So I will not expound very much beyond that on the presence of 40:13.815 --> 40:18.885 Aristotle's Poetics, there is a lot of criticism, 40:18.894 --> 40:23.054 and one of those who has written eloquently about it is 40:23.052 --> 40:25.672 E.C. Riley, whom you have met in my 40:25.670 --> 40:28.980 Casebook, in the essay about life and 40:28.981 --> 40:33.371 art, and so forth, in Don Quixote. 40:33.369 --> 40:37.319 He wrote a book, he died not too long ago, 40:37.322 --> 40:41.662 about the theory of the novel in Cervantes. 40:41.659 --> 40:43.349 Cervantes Theory of the Novel, 40:43.349 --> 40:45.109 which is a classic of Cervantes criticism, 40:45.110 --> 40:48.810 but I think that ultimately what I have said here today 40:48.807 --> 40:50.107 takes care of it. 40:50.110 --> 40:53.690 Now, Cervantes, of course, expounded on 40:53.693 --> 40:57.963 literature in other books, he has a long poem called 40:57.963 --> 41:01.023 Viaje del Parnaso, A Voyage to Parnasus, 41:01.021 --> 41:03.881 which is a book of literary criticism about the literature 41:03.878 --> 41:06.878 of his time, and in the prologues to his 41:06.882 --> 41:10.232 various books he expounds on criticism, 41:10.230 --> 41:12.120 and so forth. 41:12.119 --> 41:16.519 But the problem is, as with all writers of fiction, 41:16.518 --> 41:21.448 that Cervantes has this theory appear always in dialogue, 41:21.445 --> 41:25.225 in a dialogue among various characters. 41:25.230 --> 41:28.930 You cannot really pinpoint him as to what Cervantes's 41:28.931 --> 41:32.951 preference is in all of this, but I think that the point to 41:32.949 --> 41:36.609 remember is that the canon is a slightly ridiculous figure, 41:36.610 --> 41:39.730 that we cannot take him as a figure of authority who has 41:39.731 --> 41:43.081 given us the poetics of the Quixote by any means, 41:43.079 --> 41:46.989 that he himself has tried to write a romance of chivalry. 41:46.989 --> 41:51.049 Now, another element that is present in this episode is the 41:51.050 --> 41:55.040 critique or the criticisms of the romances of chivalry. 41:55.039 --> 41:58.519 They were criticized severely in the sixteenth century by 41:58.523 --> 42:01.513 figures as important as Erasmus of Rotterdam, 42:01.510 --> 42:03.720 another one of these Renaissance figures that I have 42:03.724 --> 42:07.494 mentioned before; Vives and others criticized the 42:07.489 --> 42:12.519 romances of chivalry for their being potentially a bad 42:12.518 --> 42:16.918 influence on society, in terms that Cervantes echoes 42:16.918 --> 42:21.048 mockingly in the Quixote when he says that he's written 42:21.045 --> 42:24.625 the book to do away with the romances of chivalry. 42:24.630 --> 42:28.810 So there is in this episode, too, also an echo of those 42:28.809 --> 42:32.059 debates about the romances of chivalry, 42:32.059 --> 42:34.879 because, as I mentioned, they were quite popular at one 42:34.880 --> 42:37.000 point, aided by the fact that they 42:36.998 --> 42:38.978 could be, they were printed, 42:38.980 --> 42:43.350 and distributed in relatively large numbers for the period. 42:43.349 --> 42:48.009 So this is what is at stake in these episodes involving the 42:48.005 --> 42:51.005 Canon of Toledo, which I think are also 42:51.007 --> 42:53.827 preparing us for the ending of the book, 42:53.829 --> 42:55.249 which, as I said, is the prologue. 42:55.250 --> 43:00.280 It is one of the most sustained takes on the poetics of the 43:00.277 --> 43:05.047 chivalric romances and on poetics and on literary theory 43:05.045 --> 43:07.295 in the Quixote. 43:07.300 --> 43:10.900 So the important thing to remember is verisimilitude; 43:10.900 --> 43:13.270 Cervantes never deviates from verisimilitude; 43:13.268 --> 43:17.518 that is, the characters never engaged in anything that is 43:17.523 --> 43:21.403 supernatural or do something that is beyond what the 43:21.398 --> 43:24.968 commonsense of a normal reader would allow. 43:24.969 --> 43:28.729 So much for this episode which has, as I said, 43:28.726 --> 43:32.816 elicited a lot of criticism as you can imagine; 43:32.820 --> 43:35.950 and that I find very entertaining because I think 43:35.949 --> 43:39.729 that the figure of the canon is really a very funny one. 43:39.730 --> 43:43.190 You will see that religious figures appear in the 43:43.188 --> 43:46.448 Quixote, well, the priest has been around the 43:46.445 --> 43:47.865 whole first part. 43:47.869 --> 43:52.529 Others will appear in Part II, one in particular, 43:52.529 --> 43:56.219 who is depicted in very negative terms, 43:56.217 --> 43:58.157 as you will see. 43:58.159 --> 44:01.929 The canon is not, the canon is very learned, 44:01.931 --> 44:05.001 very well read, and funny in his own 44:05.003 --> 44:06.673 contradictions. 44:06.670 --> 44:10.800 Notice, of course, that the whole debate takes 44:10.795 --> 44:14.525 place over lunch, this picnic that they have 44:14.528 --> 44:18.398 organized in this nice valley with food that they have 44:18.400 --> 44:22.660 obtained from the inn, in this locus amoenus 44:22.664 --> 44:26.214 where we will find a pastoral interlude, 44:26.210 --> 44:30.100 which is another one of those stories that almost repeats 44:30.103 --> 44:33.863 previous ones towards the end of the Quixote. 44:33.860 --> 44:37.590 It is, again, a way of lending substance to 44:37.585 --> 44:40.865 the book by these inner references. 44:44.902 --> 44:47.932 and Marcela episode, but it also recalls parts of 44:47.925 --> 44:50.015 the some of the intertwined love stories. 44:50.018 --> 44:54.498 Leandra is a young beauty in her father's care who is desired 44:54.503 --> 44:56.833 by many men; Eugenio, the goatherd, 44:56.829 --> 44:58.509 and Anselmo, another goatherd, 44:58.514 --> 45:00.554 are Leandra's principle suitors. 45:00.550 --> 45:03.180 They appear to be perfect candidates to marry her, 45:06.340 --> 45:09.060 They're both well off and so forth. 45:09.059 --> 45:14.279 Then there appears Vicente de la Rosa who woos her with his 45:14.280 --> 45:18.600 wiles and lies, because Leandra is no Marcela; 45:18.599 --> 45:22.469 she allows herself to be seduced by Vicente de la Rosa, 45:22.469 --> 45:25.649 who is a modern man, in that he has made himself, 45:25.650 --> 45:28.930 almost literally, the way that he uses three sets 45:28.931 --> 45:30.721 of clothes, he has three suits, 45:30.715 --> 45:33.365 and he shuffles them in such a way that it appears that he has 45:33.371 --> 45:35.741 many; and he is a miles 45:35.739 --> 45:41.089 gloriosus--it's a term in Latin--a self glorifying 45:41.092 --> 45:45.542 soldier, solider, miles gloriosus from 45:45.536 --> 45:47.756 classical comedy. 45:47.760 --> 45:50.980 This is a soldier who goes around boasting of all of his 45:50.978 --> 45:54.838 great feats of arms and showing scars that he has from battles, 45:54.840 --> 45:58.820 as Vicente de la Rosa does here. 45:58.820 --> 46:01.200 He plays the guitar, and so forth, 46:01.197 --> 46:04.007 and this is the way that he woos her. 46:04.010 --> 46:07.330 They run off to the wild, the same kind of landscape that 46:07.331 --> 46:11.001 we found in the Sierra Morena, where she is robbed, 46:11.000 --> 46:14.420 but surprisingly not sexually ravaged, 46:14.420 --> 46:18.990 which is a curious detail that I have not been able to ever 46:18.985 --> 46:20.005 understand. 46:20.010 --> 46:22.900 What does that reveal about Vicente de la Rosa? 46:22.900 --> 46:28.080 It may be as bad that he was impotent and that all of these 46:28.079 --> 46:33.259 Don Juan like adventures that he seems to be engaged in are 46:33.260 --> 46:38.280 really a cover for that, but I find it amazing that she 46:38.275 --> 46:42.675 has been left untouched, and that that satisfies her 46:42.684 --> 46:44.224 father very much. 46:44.219 --> 46:46.319 But the story is left is unfinished; 46:46.320 --> 46:48.020 it hasn't concluded. 46:48.018 --> 46:49.758 No one knows what is going to happen, 46:49.760 --> 46:53.150 and I have wondered why, and I think that the reason is 46:53.152 --> 46:56.732 that we are now coming to the end of the novel and what is 46:56.733 --> 46:59.313 being narrated is kind of a present, 46:59.309 --> 47:01.399 and a present cannot have a conclusion, 47:01.400 --> 47:04.300 because current events are current, 47:04.300 --> 47:11.240 and to give them a conclusion is an artificial way of 47:11.239 --> 47:13.509 finishing them. 47:13.510 --> 47:17.980 I think that's the only way to explain this unfinished story 47:17.980 --> 47:20.330 that is just left unfinished. 47:20.329 --> 47:22.969 We come to the end. 47:22.969 --> 47:26.499 Finally, the priest, barber, Sancho and Don Quixote 47:26.498 --> 47:30.098 arrive back in Don Quixote's village on a Sunday. 47:30.099 --> 47:32.679 Is this significant? 47:32.679 --> 47:36.169 It is the day of rest, of leisure, of feasts, 47:36.172 --> 47:40.462 consonant perhaps with Don Quixote's arrival in a cage, 47:40.460 --> 47:43.080 as if he were part of a fair. 47:43.079 --> 47:48.679 But to me the most moving and interesting detail is that Don 47:48.675 --> 47:52.085 Quixote does not know where he is. 47:52.090 --> 47:55.820 If you go to page 458, at the very end: 47:55.820 --> 47:57.000 "All of this discourse"-- 47:57.000 --> 48:00.070 at the top of page 458--"All of this discourse 48:00.074 --> 48:03.894 passed between Sancho Panza and his wife Teresa Panza [you will 48:03.885 --> 48:06.955 see that her name changes throughout the book; 48:06.960 --> 48:10.310 this is another one of Cervantes's careless mistakes, 48:10.309 --> 48:13.109 she goes Juana Gutierrez and so forth], 48:13.110 --> 48:17.390 while the housekeeper and the niece received Don Quixote, 48:17.389 --> 48:20.699 and having pulled off his clothes, laid him in his own 48:20.704 --> 48:21.084 bed. 48:21.079 --> 48:27.559 He looked at them with eyes askew, not knowing perfectly 48:27.556 --> 48:30.026 where he was." 48:30.030 --> 48:39.090 After all of these adventures, home is no longer familiar to 48:39.090 --> 48:41.240 Don Quixote. 48:41.239 --> 48:45.189 It is not, if it ever was, the abode of the canny, 48:45.188 --> 48:46.878 but of the uncanny. 48:46.880 --> 48:49.360 Instead of curing him, it seems to me, 48:49.362 --> 48:52.722 bringing him home has made him madder than ever. 48:52.719 --> 48:56.639 Perhaps the circularity of the event, coming back again has 48:56.637 --> 49:00.957 made him dizzy to the point that he cannot recognize even his own 49:00.958 --> 49:01.498 bed. 49:01.500 --> 49:04.090 This is what I found very moving. 49:04.090 --> 49:06.540 He's in his own bed and he can't even recognize it. 49:06.539 --> 49:09.119 Now, he will, again, get out of it, 49:09.121 --> 49:13.601 although we will meet him in it at the beginning of Part II, 49:13.603 --> 49:15.353 but not quite soon. 49:15.349 --> 49:19.779 In the fiction of Part II he will get out of it, 49:19.775 --> 49:23.725 but a long decade later in real history. 49:23.730 --> 49:28.410 I was going to wind up today by talking about Rinconete and 49:28.409 --> 49:31.849 Cortadillo, which you were supposed to read 49:31.851 --> 49:33.581 for today, and I'm going to do it very 49:33.583 --> 49:36.483 briefly, but we will come back to The 49:36.478 --> 49:40.658 Exemplary Novels, again, to discuss Rinconete 49:40.663 --> 49:43.953 and Cortadillo perhaps a little more, 49:43.949 --> 49:46.569 and also because we will be reading several of them. 49:46.570 --> 49:52.280 Sixteen thirteen is the date of the Novelas ejemplares, 49:52.275 --> 49:56.945 called here--this is the edition that you're using, 49:56.954 --> 50:00.514 I assume-Exemplary Stories. 50:00.510 --> 50:03.990 It's impossible to find a good title for it because 50:03.989 --> 50:08.089 novellas at the time meant short novels or long short 50:08.094 --> 50:11.214 stories, but today if you say exemplary 50:11.206 --> 50:13.956 novels, you think of longer novels. 50:13.960 --> 50:17.230 Short stories, the term didn't really emerge 50:17.228 --> 50:20.038 until the late eighteenth century, 50:20.039 --> 50:22.919 early nineteenth century with the appearance of newspapers and 50:22.918 --> 50:25.468 all of that; so this is why there is no good 50:25.474 --> 50:28.414 way of translating it, and when a Spanish speaker 50:28.409 --> 50:31.529 reads it today he's mislead by the title, Novelas 50:31.527 --> 50:32.747 ejemplares. 50:32.750 --> 50:38.060 The point is, as Cervantes became well known 50:38.056 --> 50:43.236 because the Quixote did so well, 50:43.239 --> 50:46.949 and publishers became interested in publishing his 50:46.949 --> 50:48.539 works for a change. 50:48.539 --> 50:50.779 They had all ready fleeced him with the Quixote, 50:50.780 --> 50:52.980 so they were ready to do so again with other books. 50:52.980 --> 50:58.720 So he was able to publish his collection of stories that, 50:58.719 --> 51:02.219 as I told you in an earlier class, does not have the 51:02.219 --> 51:06.269 overarching fiction that the Decameron and other such 51:06.269 --> 51:09.379 books have; all of the characters leave the 51:09.382 --> 51:13.282 city because of the plague, get together somewhere and then 51:13.277 --> 51:16.297 each one tells a story on a different day. 51:16.300 --> 51:21.460 This is the Decameron's overarching fiction. 51:21.460 --> 51:24.610 The Exemplary Novels doesn't have that, 51:24.610 --> 51:28.180 it is a one-man show, twelve stories with a prologue 51:28.179 --> 51:30.069 by Miguel de Cervantes. 51:30.070 --> 51:33.860 Cervantes, as I have mentioned favored the long short story 51:33.856 --> 51:37.176 like several ones we have encountered intertwined in 51:37.184 --> 51:40.644 the Quixote and individually in The Novel of 51:40.644 --> 51:46.994 the Curious Impertinent, and he had a few in reserve, 51:46.989 --> 51:51.349 obviously, as we recall the papers that 51:51.353 --> 51:55.253 someone left at the inn, Juan Palomeque's inn, 51:55.253 --> 51:58.953 including at least a couple of stories by Cervantes. 51:58.949 --> 52:01.639 These were stories that were circulating in manuscript. 52:01.639 --> 52:05.929 Remember that I told you that stories still circulated in 52:05.929 --> 52:09.989 manuscript in spite of the development of printing. 52:09.989 --> 52:14.399 In the book, he collects stories with very 52:14.403 --> 52:18.513 diverse themes and styles; it is like a series of 52:18.514 --> 52:19.664 narrative experiments. 52:19.659 --> 52:24.259 Some, like Rinconete, are akin the picaresque, 52:24.260 --> 52:27.270 others to the Byzantine romance; 52:27.268 --> 52:30.128 others are love stories, etcetera. 52:30.130 --> 52:32.340 We are going to be reading several here. 52:32.340 --> 52:34.420 They are superb. 52:34.420 --> 52:38.740 I think that even Cervantes had not published the Quixote 52:38.735 --> 52:42.365 he still would have become a major author by just this 52:42.367 --> 52:44.557 collection of short stories. 52:44.559 --> 52:46.779 You will see the Glass Graduate and all of the 52:46.777 --> 52:49.167 others that we're going to read that are really excellent 52:49.168 --> 52:49.678 stories. 52:49.679 --> 52:54.339 Now, Rinconete and Cortadillo is obviously of a 52:54.335 --> 52:57.495 picaresque thematic and ambiance, 52:57.500 --> 53:02.640 and it takes place in the center of picaresque life, 53:02.639 --> 53:06.309 Seville, but it does not follow the autobiographical form of the 53:09.869 --> 53:12.299 de Pasamonte-- Remember? 53:12.300 --> 53:16.080 When he says, how can the book be over if my 53:16.079 --> 53:17.749 life is not over? 53:17.750 --> 53:19.050 He's making fun of that. 53:19.050 --> 53:23.300 So you will see that he does use it in the Dialogue of the 53:23.300 --> 53:26.420 Dogs at the end, but you will see in what 53:26.418 --> 53:28.188 experimental fashion. 53:32.840 --> 53:36.400 known by the diminutive Rinconete and Cortadillo, 53:42.932 --> 53:45.782 character; so they become 53:52.353 --> 53:57.593 knight, and there are hints of this in 53:57.590 --> 54:01.120 the first inn, when we learn that the 54:05.012 --> 54:08.772 he tells stories, and we get the sense that some 54:13.483 --> 54:17.963 within those emporia of picaresque life that he mentions 54:17.956 --> 54:20.066 had chosen that life. 54:20.070 --> 54:24.780 It was not that they were just simply poor boys who were out 54:24.782 --> 54:28.842 looking for a way of living, but that they had chosen that 54:28.838 --> 54:30.378 life, so they had--as they said in 54:30.382 --> 54:32.842 the sixties in this country-- they had dropped out, 54:32.840 --> 54:35.320 as it were, dropped out of society to become 54:36.760 --> 54:39.080 And this is, I think, what is the case of 54:43.130 --> 54:45.930 and that is the end of their adventures. 54:45.929 --> 54:49.569 It is not that they go to the galleys or that they are nabbed 54:49.565 --> 54:53.195 or they have to write a story because they are married to the 54:53.202 --> 54:55.872 mistress of an archpriest and so forth-- 54:55.869 --> 54:58.879 I'm alluding to Lazarillo de Tormes. 54:58.880 --> 55:03.370 I think the other very significant element here is 55:03.367 --> 55:08.647 Monipodio's brotherhood, Monipodio is the chief criminal 55:08.653 --> 55:11.473 here, who runs the whole brotherhood 55:11.472 --> 55:13.802 in very well organized fashion. 55:13.800 --> 55:16.230 He's, again, one of these figures of 55:16.226 --> 55:18.996 authority who is slightly ridiculous, 55:19.000 --> 55:23.080 and he's surrounded by a bevy of petty criminals, 55:23.079 --> 55:28.519 prostitutes and pimps all of who have their own features, 55:28.518 --> 55:31.258 physical features--remember, I talk about the physical 55:31.255 --> 55:33.315 features in some of these characters-- 55:33.320 --> 55:38.600 and it is not a somber sordid life that is depicted as the 55:38.601 --> 55:40.271 picaresque life. 55:40.268 --> 55:41.958 On the contrary, it seems like a lot of fun. 55:41.960 --> 55:46.230 Everybody is having fun, even the prostitute, 55:46.230 --> 55:51.700 who comes complaining about her pimp beating her up at the end, 55:51.699 --> 55:54.979 she actually reveals that it was really an S&M 55:54.978 --> 55:58.208 sadomasochistic, a little mutual sexual game 55:58.213 --> 55:59.963 that they were playing. 56:03.949 --> 56:05.259 This is very much Cervantes. 56:05.260 --> 56:08.760 As I've told you, even the worst characters have 56:08.760 --> 56:13.080 some good and are never totally evil, and certainly none of 56:13.079 --> 56:15.089 these are totally evil. 56:15.090 --> 56:19.850 Repolido is her pimp's name, and it means that he is bald, 56:19.853 --> 56:23.033 probably from some venereal disease. 56:23.030 --> 56:25.870 I mean, Cervantes deals with the most sordid, 56:25.869 --> 56:28.929 but in a way that does not read as a sordid story, 56:28.929 --> 56:33.629 and I think also what is interesting here is that 56:33.626 --> 56:39.786 Monipodio's brotherhood seems like the blueprint for society. 56:39.789 --> 56:44.869 That it is the kernel of society where rules are being 56:44.873 --> 56:48.093 created, and where there is a kind of 56:48.094 --> 56:51.964 self enclosed atmosphere created by those rules, 56:51.960 --> 56:56.150 as if this were the beginning of laws and the beginning of a 56:56.152 --> 56:59.052 certain mode of speech, and so forth. 56:59.050 --> 57:01.580 This is, I think, what is behind this 57:01.577 --> 57:03.947 brotherhood; it's one of the Renaissance 57:03.947 --> 57:06.837 topics about utopia, this is a counter utopia--I am 57:06.835 --> 57:09.455 referring now to Thomas More, another one of those 57:09.458 --> 57:11.478 Renaissance figures that I want you to remember-- 57:11.480 --> 57:14.010 but utopia, what it means is that it's a well ordered 57:14.012 --> 57:16.292 society, in which everything has been 57:16.291 --> 57:18.251 thought of, and advanced, 57:18.253 --> 57:22.513 and there are rules, and this is what Monipodio's 57:22.514 --> 57:27.934 brotherhood is like is a counter utopia that is organized with 57:27.929 --> 57:33.079 the well wrought sort of polish of a work of fiction. 57:33.079 --> 57:40.359 So we will return to this in our next class which will come 57:40.355 --> 57:43.235 after Tuesday's exam. 57:43.239 --> 57:48.999