WEBVTT

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Prof: I want to begin
today by mentioning a virtual

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literary fact,
a story that does not happen;

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one that only exists in the 'as
if' of literature.

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It's a make believe,
but--literature is make

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believe--but that it's
nevertheless suggestive of the

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enigmatic and even prophetic
powers of literature.

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In talking the last time about
Cervantes's reaction to the

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publication of Avellaneda's
Quixote,

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of which he learned when he was
writing chapter XXXVI of his own

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second part,
we failed to mention a change

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he made in Don Quixote's plans
to distinguish his own book from

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that of the imposter.

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You may remember that in
mentioning the possibility of a

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third sally at the end of Part I
there is a reference to some

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jousts in Saragossa,
you have a handout to help you,

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no?

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You have it already?

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It should have gotten to each
one of you, if not...

01:31.290 --> 01:42.610


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And at the beginning of
Cervantes's Part II it is again

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said that Don Quixote will go to
Saragossa to participate in the

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tournament,
which takes place during the

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celebration of Saint George's
Day--

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Saint George is a saint who was
a knight--

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on April 23.

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This is where Don Quixote is
headed as he sets forth for the

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third time.

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But it so happens that
Avellaneda had also taken the

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cue from Part I of the Saragossa
jousts and had his own Don

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Quixote actually go and
participate in the tournament.

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This was enough for Cervantes
to change Don Quixote's

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destination in mid novel and
have him divert to Barcelona

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without passing through
Saragossa,

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which is what he does in the
book: Avellaneda's goes to

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Saragossa,
Don Quixote's veers and goes to

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Barcelona.

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This is all well and good,
another instance of Cervantes'

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reaction to the apocryphal
Quixote.

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What Cervantes could not have
known,

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of course, is that April 23,
the day of those jousts,

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would be the date of his own
death,

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so that he avoided unknowingly,
of course,

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having the end of his book
announce his own end.

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Now, this is all,
needless to say,

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speculation on my part,
a fiction making on my part,

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but such implied coincidences
make me wonder sometimes,

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is literature always an evading
or a postponement of death?

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There is more to the telling of
stories than the telling of

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stories,
as Scheherazade knew when she

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told story after story,
night after night,

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forestalling her own demise in
the One Thousand and One

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Nights.

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You remember that Scheherazade
tells stories to avoid her being

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slain,
so she tells stories to

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forestall her own death,
so in some implicit way,

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perhaps only in my overheated
imagination,

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this is what happens when
Cervantes has his character

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swerve away from April 23,
so much for that.

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April 23, by the way,
is a bad day for great writers,

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it is the date on which
Shakespeare also died,

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the same year as Cervantes.

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Not exactly the same day,
close enough,

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the same date,
because England and Spain used

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a different calendar,
so there was a difference of

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two or three days,
but April 23 is also the date

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of Shakespeare's death.

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There is something magical
about April 23,

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so much so that Alejo
Carpentier, the great Cuban

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writer about whom I have written
a great deal,

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also died on April 23,
centuries later.

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So we should warn all writers
not to take very seriously April

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23,
but I'm sure that some wishing

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to be as great as Cervantes and
Shakespeare or Carpentier would

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take it,
and would rather just die on

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April 23 to be as great as they
were.

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So perhaps this is just a
mnemonic device,

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something to make you remember
the date of Cervantes's death to

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which we will return when we
read his farewell in the

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prologue to the Trials of
Persiles y Sigismunda.

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Now, let us return to the issue
of the new features of Part II.

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I remarked on the discussion
among Don Quixote,

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the priest and the barber about
Spain's political situation and

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the arbitristas,
those who offered solutions to

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the problems at hand.

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I remarked that the discussion
should be seen in the context of

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my commentary on the speech
about arms and letters,

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when I said that by the
sixteenth century,

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government had become the
object of intellectual

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reflection and mentioned
Machiavelli's The Prince

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as a founding work of political
science.

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I also told you that,
during the sixteenth century,

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there were not a few books
written about the education of

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The Prince in which
guidelines were offered about

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how to prepare a young man for
kingship,

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for being a ruler.

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All of these preoccupations are
in the background of this

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discussion among the three
characters.

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What the discussion also
indicates--

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and this is very
significant--is that the

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Quixote, Part II,
is the first political novel

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because it deals and
incorporates current events,

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such as the expulsion of the
moriscos.

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The moriscos were the
Arabs who remained after the

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fall of Granada in 1492.

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Of course, there were large
communities of Arabs in Spain

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and many remained,
and they were by decree and by

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force compelled to abandon not
only their religion but their

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practices,
and so forth,

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the customs,
and they were expelled from

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Spain at the time that Cervantes
was writing Part II of the

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Quixote,
and this polemical event is

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incorporated into the novel.

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This is why I say that the
Quixote Part II is the first

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political novel.

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In Part II there is also a
bitter satire of the aristocracy

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and their irresponsible ways,
in the figures of the Duke and

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Duchess that you will meet
later.

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The satire of the
arbitristas is part of

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these political thematic,
and Don Quixote's acting like

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an arbitrista.

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He does, remember,
the idea that he has on how to

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fight off the Turks.

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It's part of the critique of
the nobility,

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even if Don Quixote is a
pathetic and impoverished

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hidalgo,
but here he is trying to play

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the role of the
arbitristas.

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This is what the king should do.

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Another new factor is that
three or four of the initial

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chapters in Part II take place
indoors, be it in Don Quixote's

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or Sancho's house;
in contrast to Part I a great

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deal of Part II will take place
indoors reflecting a more urban

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setting in the novel.

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You will have the village of El
Toboso and Barcelona.

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Inns will still play a role,
but not as important as Juan

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Palomeque's in Part I,
and, remember,

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the holes in the roof of that
inn to be in Palomeque's inn was

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almost to still be outdoors.

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Here, in Part II there will be
houses, mansions and cities like

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El Toboso, which is merely a
village, and Barcelona,

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which is a great city.

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The novel, the modern novel
that develops from the

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Quixote will be essentially
an urban genre dealing with

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cities--
so you think of Balzac--because

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in cities there are more people
engaged in playing many

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different roles,
there is a thicker social

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context.

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So we can see in this
development a movement towards

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the city in the novel.

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Although one could say that if
the remote kernel of the novel,

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of the modern novel is La
Celestina--

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about which I have talked many
times--

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that work already takes place
in a city,

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presumably Salamanca,
and although much of the

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picaresques take place on the
road,

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there are also cities in
Lazarillo,

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Alfarache.

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Being indoors,
but also outdoors,

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much of the action of Part II
takes place at night,

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in the dark.

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We had night episodes in Part
I: the fulling hammers,

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the fracas at the inn,
the episode with the dead body,

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but most of it takes place
outdoors on the road and in

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daylight.

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Not so in Part II,
in which the darkness will play

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an important role in several
episodes,

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and there are two that actually
take place underground,

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in caves.

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Part II, as we will soon see is
more baroque,

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and the buildings and darkness
contribute to it.

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Another development in Part II
is its being scripted and

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performed in the present,
presumably as we read,

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not in the past by Cide Hamete
Benengeli and his translators.

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It is being improvised on the
go;

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in addition,
and as already remarked,

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many characters have read Part
I, which serves as the

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background, as a model,
as it were, for Part II.

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We already had had intimations
of this in Part I,

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the novel being scripted and
written as the novel takes

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place: in the episode of the
dead body,

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when Sancho gives Don Quixote
the moniker the Knight of the

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Sorrowful Countenance,
the hidalgo remarks that the

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writer must have put the idea in
Sancho's head,

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suggesting that the novel is
being written as they perform

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it.

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But now, we have the plans and
preparations for the action

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being discussed by the
characters, particularly by

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In Part II, Part I plays the
role that the romances of

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chivalry play in Part I.

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Let me repeat that,
because it's a bit convoluted:

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in Part II, Part I plays the
role that the romances of

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chivalry played in Part I.

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It is the original that the
characters who have read it want

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Don Quixote to reproduce and act
according to it,

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so a new larger mirror has been
added to the play of mirrors

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already present in Part I.

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Don Quixote belongs to a
previous fiction that the new

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characters who have read it want
him to be true to.

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Everything now is part of Don
Quixote's fiction.

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emerge in Part II.

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Carrasco, who studied in
Salamanca, and has come back

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with a Bachelor's degree.

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He is another of several
university graduates in the

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Quixote,
the first being the priest,

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as you remember.

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This is a reflection of the
importance of universities in

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Spain during this period,
particularly after the work of

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about who you have read in
Elliott,

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There is a mild satire of the
intellectuals in the figure of

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priest in Part I,
and throughout Part II.

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The priest was the graduate of
a lesser university,

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not quite Salamanca.

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small;
he is not a giant like the

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Samson of the Bible.

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But most importantly,
he is a jokester,

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a prankster,
an avid reader of romances of

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chivalry,
and particularly of Part I of

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the Quixote,
which he seems to know by heart.

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To judge by comments he makes,
he was also a reader of Boiardo

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at Salamanca reading literature,
not studying theology,

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which is what he was supposed
to do.

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He is the counterpart of the
Canon of Toledo in Part I,

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but is not solemn and pedantic
like the canon was;

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he is quite the opposite.

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Part I, again,
is to him what the romances of

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chivalry were to Don Quixote.

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He wants to reenact it,
just like Don Quixote wanted to

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reenact and dramatize the
romances of chivalry.

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His plan to cure Don Quixote is
to defeat him within the fiction

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of his madness,
like the priest and the barber

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in Part I,
but in doing so he will become

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another Quixote,
his double in a truer sense

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than all of the others in Part
I.

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If Part I was held together by
the overarching plot of the

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persecution and capture of Don
Quixote by the Holy Brotherhood,

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the barber and the priest,
in Part II that role is played

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within the fiction that he has
helped him create.

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for Don Quixote,
which is really not a fiction;

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that is that Don Quixote a
great knight errant,

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already the object of a book.

17:28.980 --> 17:33.680
So he imbues Don Quixote with
this idea, you are a great

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character already in a book,
so you have to act accordingly.

17:46.328 --> 17:50.078
Cide Hamete Benengeli was a
distant author,

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at least thrice removed by
translators and transcribers.

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whom you will meet soon enough,
will be authors within the

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fiction we read and will script
the action and watch it unfold,

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most of the time not like they
intended it to.

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quite complex and modern,
their intentions rarely match

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their results.

18:24.318 --> 18:27.908
Much of the fun,
of the humor in Part II is

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following the elaborate schemes
of internal authors that go awry

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when the opposite of what they
had planned actually happens,

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some of them spectacularly.

18:42.440 --> 18:46.310
This has much to say about
authorship, about the creation

18:46.307 --> 18:50.587
of fiction and about Cervantes's
own creation of the fiction of

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the Quixote.

18:52.180 --> 18:57.190
I say that it is quite a modern
conception of the author because

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this is the conception we have
in the modern period of authors.

19:02.358 --> 19:07.228
The whole of Deconstruction,
the famous literary movement

19:07.227 --> 19:12.007
that was mostly started here at
Yale had to do with fine

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deconstructing authors showing
how their intentions rarely,

19:17.568 --> 19:22.448
if ever, matched the results,
but that is another story.

19:22.450 --> 19:29.630
Now, Sancho and Teresa--oh no.

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of Part I,
the action in Part II is poised

19:38.067 --> 19:41.677
between the past,
their remembrance of Part I,

19:41.682 --> 19:44.392
and the future;
their scripts based on it,

19:44.392 --> 19:46.002
so it's poised in that.

19:46.000 --> 19:51.040
It's like a balancing act
between the past Part I and the

19:51.038 --> 19:54.818
future in the scripts that they
prepare.

19:54.818 --> 19:58.258
Hence, it is like an action
that unfolds in the present as

19:58.260 --> 20:01.800
it is being written,
or just after following scripts

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whose development we,
as readers, can more or less

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follow.

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Part II is a text in the making;
we learn this quite early in

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chapter V, in the episode when
Sancho goes home to convince his

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wife that he must accompany Don
Quixote again.

20:21.338 --> 20:26.088
This is an issue and an episode
that I discussed briefly at the

20:26.093 --> 20:30.543
end of my last lecture but that
I want to revisit today.

20:30.538 --> 20:37.038
So the question of translation
and improvisation resurfaces

20:37.036 --> 20:37.816
here.

20:37.818 --> 20:40.988
Chapter V Part II begins,
in your translation:

20:40.990 --> 20:43.190
"The translator of this
story,

20:43.190 --> 20:45.160
coming to write this fifth
chapter,

20:45.160 --> 20:48.450
says he takes it to be
apocryphal, because in it Sancho

20:48.452 --> 20:51.682
talks in another style than
could be expected from his

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shallow understanding,
and says such subtle things

20:55.392 --> 20:59.442
that he reckons impossible that
he should know them.

20:59.440 --> 21:01.490
Nevertheless,
he would not omit translating

21:01.489 --> 21:04.219
them to comply with the duty of
his office and so went on

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saying..."

21:05.150 --> 21:07.610
And the chapter begins.

21:07.608 --> 21:10.878
A little further,
it is again,

21:10.876 --> 21:14.306
reported,
quote: "This kind of

21:14.309 --> 21:18.549
language and what Sancho says
further below made the

21:18.553 --> 21:23.133
translator of this story say he
takes this chapter to be

21:23.128 --> 21:24.958
apocryphal."

21:24.960 --> 21:28.610
Let us step by step reconstruct
what the comment by the

21:28.605 --> 21:32.515
translator at the beginning of
chapter X suggests about the

21:32.520 --> 21:36.910
status of the text that we read,
but keeping in mind that all of

21:36.911 --> 21:40.391
these games of authorship and
textuality do not lead to an

21:40.386 --> 21:41.726
ultimate coherence.

21:41.730 --> 21:46.290
We cannot really pin down
Cervantes on the issue of

21:46.291 --> 21:49.111
authorship,
how many authors or

21:49.105 --> 21:53.705
translators, and we cannot pin
him down either on which is

21:53.711 --> 21:55.491
finally 'the text'.

21:55.490 --> 22:01.360
The text exists supposedly in
the original,

22:01.358 --> 22:06.948
in a form that seems to be
apocryphal;

22:06.950 --> 22:12.560
that is, that it is false,
either a bogus addendum by

22:12.560 --> 22:17.090
somebody else,
or a falsifying rewriting of

22:17.094 --> 22:17.854
it.

22:17.848 --> 22:20.888
Did Cide Hamete write it this
way?

22:20.890 --> 22:23.800
Or was it falsified in some way
so that Sancho appears talking

22:23.797 --> 22:24.367
like this?

22:24.368 --> 22:28.908
Then it is translated into the
text we read by a reluctant

22:28.907 --> 22:32.887
translator who alludes to its
falseness but decides

22:32.887 --> 22:36.787
nevertheless to translate and
transcribe it,

22:36.788 --> 22:40.508
but adding a note about its
falsity.

22:40.509 --> 22:45.559
It is a text that is erased as
it is being written and that

22:45.557 --> 22:48.427
should disappear as we read it.

22:48.430 --> 22:52.560
Moreover, there is a question
of temporality:

22:52.560 --> 22:56.130
when does it exist and in what
form?

22:56.130 --> 22:59.680
The answer is that it only
exists at the moment of each

22:59.682 --> 23:00.342
reading.

23:00.338 --> 23:04.758
This is, I think,
a model of how the entire of

23:04.760 --> 23:08.030
Part II exists,
poised, as I said,

23:08.028 --> 23:12.688
between the remembrances of
Part I and the future actions

23:12.692 --> 23:16.692
scripted by the internal authors
of Part II,

23:16.690 --> 23:20.160
actions that don't turn out to
be quite like the script.

23:20.160 --> 23:23.230
Furthermore,
the translator's admonition

23:23.229 --> 23:28.029
raises the issues if mimesis:
which Sancho is the real one?

23:28.028 --> 23:32.738
Is it the one he remembers from
Part I or the new Sancho who has

23:32.741 --> 23:37.151
evolved improving his speech and
endowed with the desire for

23:37.154 --> 23:40.484
social advancement,
not just for wealth?

23:40.480 --> 23:45.900
The translator's quip reveals
that Sancho has changed,

23:45.896 --> 23:48.346
that he is not static.

23:48.348 --> 23:52.048
In fact, that reality,
in general, is not static,

23:52.049 --> 23:55.519
and true mimesis,
to be very much aware of the

23:55.519 --> 23:58.679
changing nature of things and
people.

23:58.680 --> 24:02.750
So there is an inherent
provisional nature to the text

24:02.752 --> 24:06.522
that we read and to the whole of
Part II that,

24:06.519 --> 24:12.039
as which I'll suggest later,
is part of its Baroque nature.

24:12.038 --> 24:17.168
It is clear that here Sancho is
playing the role of Don Quixote,

24:17.172 --> 24:19.542
in this chapter,
and his wife,

24:19.535 --> 24:22.545
that of himself as he used to
be.

24:22.548 --> 24:26.098
This is hilarious,
which is why he corrects her

24:26.102 --> 24:28.422
mistakes when she misspeaks.

24:28.420 --> 24:33.550
He is echoing Don Quixote's
ideas, revealing that he has

24:33.549 --> 24:38.189
been quixotized;
but also that he has acquired

24:38.185 --> 24:39.405
new values.

24:39.410 --> 24:45.030
All this comes out in the
discussion of their daughter's

24:45.026 --> 24:50.736
marriage, which they are
discussing from different points

24:50.743 --> 24:51.973
of view.

24:51.970 --> 24:56.800
She wanted her to marry her
equal and Sancho wanted her to

24:56.796 --> 25:00.856
marry somebody of higher status,
and so forth.

25:00.858 --> 25:04.908
Sancho's social ambition is
reflected in his intellectual

25:04.909 --> 25:06.789
improvement and swagger.

25:06.788 --> 25:10.168
In Part II of the
Quixote Sancho will play a

25:10.173 --> 25:14.103
more central role and prove
himself to be capable of things

25:14.101 --> 25:18.301
that would not have been thought
possible by the Sancho of Part

25:18.298 --> 25:18.838
I.

25:18.838 --> 25:22.868
The changes in Sancho,
his elevation in status,

25:22.866 --> 25:28.116
have an ideological dimension
as well as an aesthetic one.

25:28.118 --> 25:33.458
The poor and humble can learn
and advance, and novelistic

25:33.455 --> 25:38.025
characters move up and down the
social ladder.

25:38.029 --> 25:41.389
This element of the
Quixote,

25:41.390 --> 25:44.360
which is a political element,
too, anticipates the

25:44.358 --> 25:47.578
enlightenment,
and ideas that lead to concepts

25:47.577 --> 25:51.527
about social leveling that will
eventually lead to modern

25:51.531 --> 25:56.491
conceptions of democracy,
but it also has a profoundly

25:56.486 --> 25:58.766
Christian background.

25:58.769 --> 26:04.999
We can recall Matthew's Gospel,
chapter V, the opening words of

26:04.998 --> 26:07.608
the Sermon on the Mount.

26:07.608 --> 26:10.728
I quote: "Blessed [these
are the Beatitudes],

26:10.728 --> 26:14.418
blessed are the poor in spirit
for theirs is the Kingdom of

26:14.419 --> 26:17.639
Heaven;
blessed are they that mourn for

26:17.637 --> 26:22.277
they shall be comforted;
blessed are the meek for they

26:22.278 --> 26:24.978
shall inherit the earth."

26:24.980 --> 26:25.880
Unquote.

26:25.880 --> 26:27.940
If characters in novels will
evolve,

26:27.940 --> 26:30.340
they do so within a social
context,

26:30.338 --> 26:33.378
so this consonant with the
political character of the

26:33.383 --> 26:36.413
novel,
but this has also much to do

26:36.411 --> 26:40.611
with the development and
evolution of realism in

26:40.608 --> 26:43.908
literature,
particularly in the novel.

26:43.910 --> 26:53.020
This brings me to Erich
Auerbarch, I gave you a handout

26:53.019 --> 26:59.599
that happens to be an obituary
note--

26:59.598 --> 27:04.018
oh, you don't have it yet--it
happens to be an obituary note

27:11.679 --> 27:14.069
years,
the founder of the discipline

27:14.065 --> 27:17.015
of comparative literature in the
United States.

27:17.019 --> 27:22.359
It so happens that all of the
professors and critics that I

27:22.355 --> 27:28.055
will be mentioning in my lecture
today were Yale professors.

27:28.058 --> 27:32.988
Yale has been at the forefront
of literary studies for many,

27:32.989 --> 27:36.749
many years, and this is a
reflection of it;

27:36.750 --> 27:41.820
I didn't plan it this way but
it so happens.

27:41.818 --> 27:46.538
So if you have a chance read
that obituary note but I'll give

27:46.535 --> 27:50.775
you a thumbnail sketch of
Auerbach and his theories.

27:50.779 --> 27:55.859
Now, the critic who put forth
this theory about Christianity

27:55.862 --> 28:00.692
and the development of realism
was Erich Auerbarch in his

28:00.685 --> 28:05.595
outstanding book Mimesis:
the Representation of Reality

28:05.596 --> 28:11.026
in Western Literature,
first published in the original

28:11.032 --> 28:17.232
German in Switzerland in 1946,
a year after the end of World

28:17.228 --> 28:18.318
War One.

28:18.318 --> 28:24.128
We will be talking about him
next week,

28:24.130 --> 28:27.040
when you read his essay in the
Casebook which is drawn

28:27.038 --> 28:29.948
from the book Mimesis
about the enchanted Dulcinea.

28:29.950 --> 28:35.910
Auerbach--this is my thumbnail
sketch of Auerbach--

28:35.910 --> 28:39.820
who was Jewish,
was born in Berlin,

28:39.818 --> 28:43.108
he was trained in the German
philological tradition and would

28:43.107 --> 28:45.537
eventually become,
along with Leo Spitzer,

28:45.536 --> 28:48.196
who you will also meet in the
Casebook,

28:48.200 --> 28:50.460
one its best known scholars.

28:50.460 --> 28:54.940
After participating as a
combatant in World War I he

28:54.942 --> 28:59.602
earned a doctorate in 1921,
and in 1929 become a member of

28:59.595 --> 29:03.355
philology faculty at the
University of Marburg publishing

29:03.355 --> 29:07.785
a well-received study Dante:
Poet of the Secular World,

29:07.789 --> 29:10.259
a book that still is read.

29:10.259 --> 29:14.079
With the rise of Nazism,
however, Auerbach was forced to

29:14.083 --> 29:18.263
vacate his position in 1934--he
was thrown out because he was

29:18.255 --> 29:19.015
Jewish.

29:19.019 --> 29:22.069
Exiled from Nazi Germany,
he took up residence in

29:22.067 --> 29:24.067
Istanbul,
Turkey, where he wrote

29:24.070 --> 29:26.170
Mimesis,
generally considered his

29:26.172 --> 29:29.032
masterwork and one of the best
books of literary criticism of

29:29.028 --> 29:30.218
the twentieth century.

29:30.220 --> 29:33.400
He has said,
in a moving statement,

29:33.400 --> 29:37.210
that he wrote such a general
book because in Istanbul he did

29:37.208 --> 29:40.628
not have his books or the
journals that he needed,

29:40.630 --> 29:43.730
so he just went for the big
works in Western literature,

29:43.730 --> 29:48.030
and so it was these terrible
circumstances that had the happy

29:48.032 --> 29:49.972
result of Mimesis.

29:49.970 --> 29:55.840
Auerbach moved to the United
States in 1947,

29:55.838 --> 29:58.298
first teaching at Pennsylvania
State University,

29:58.298 --> 30:00.938
and then working at the
Institute for Advanced Study in

30:00.942 --> 30:01.532
Princeton.

30:01.528 --> 30:05.828
In 1950 he was made Sterling
Professor of Romance Languages

30:05.827 --> 30:10.567
at Yale, a position that he held
until his death while here being

30:10.570 --> 30:12.350
a professor in 1957.

30:12.349 --> 30:14.539
He died in Wallingford.

30:14.538 --> 30:18.868
I have to say that as a holder
myself of a Sterling chair here

30:18.865 --> 30:22.975
at Yale I feel honored and
humbled to have a precursor like

30:22.977 --> 30:26.207
Auerbach,
whose work and memory I cherish.

30:26.210 --> 30:28.430
The main idea of
Mimesis,

30:28.432 --> 30:32.692
a broad and profound one,
is about the Christian mixture

30:32.685 --> 30:37.395
of the sublime and the low style
in the New Testament leading up

30:37.403 --> 30:41.893
of the emergence of realism,
the representation of every day

30:41.888 --> 30:44.988
life and common people in
serious literature.

30:44.990 --> 30:51.080
We take this for granted now,
but it was not so until the New

30:51.080 --> 30:52.300
Testament.

30:52.298 --> 30:56.758
This was a break away from the
strict distinction between high

30:56.758 --> 31:01.138
and low style in the classical
tradition by which the serious

31:01.143 --> 31:03.883
genres,
like epic and tragedy,

31:03.875 --> 31:06.655
dealt with outstanding
figures--

31:06.660 --> 31:10.570
including gods--and was written
in a high rhetorical style where

31:10.567 --> 31:14.757
common speech had no place,
whereas the minor genres,

31:14.756 --> 31:17.626
like comedy,
dealt with low class people who

31:17.632 --> 31:20.222
speak in vulgar speech and are
invariably comical.

31:20.220 --> 31:27.350
Auerbach derived his idea from
Saint Augustine and the church

31:27.351 --> 31:28.541
fathers.

31:28.538 --> 31:33.008
The church fathers were those
who during the Middle Ages wrote

31:33.005 --> 31:36.665
comments on scripture and
expanded and deepened the

31:36.665 --> 31:38.345
Christian doctrine.

31:38.348 --> 31:42.368
They include major philosophers
like Saint Thomas Aquinus,

31:42.368 --> 31:45.048
who wrote in the thirteenth
century.

31:45.048 --> 31:48.048
There are Greek fathers and
Latin fathers;

31:48.048 --> 31:49.558
I mean, there is a
patrologia,

31:49.558 --> 31:51.908
that is, the writing of the
fathers, in Latin and another

31:51.906 --> 31:52.616
one in Greek.

31:52.618 --> 31:57.938
Auerbach labels sermo
humilis,

31:57.940 --> 32:05.750
humble sermon,
this Christian response to the

32:05.746 --> 32:16.736
classical separation of styles
which was derived from Aristotle

32:16.744 --> 32:24.154
and Roman rhetorical theory--
that separation of style was

32:24.153 --> 32:27.043
derived from Aristotle and Roman
rhetorical theory.

32:27.038 --> 32:31.558
The mixture of the transcendent
and the low style is exemplified

32:31.558 --> 32:35.308
by Christ's passion,
through which the quotidian

32:35.305 --> 32:38.335
drama of mankind,
everyday drama of man,

32:38.343 --> 32:42.043
assumes a more profound
meaning: life does not end in

32:42.037 --> 32:44.877
the brief span of worldly
existence,

32:44.880 --> 32:49.180
eternity is present in it as a
message of hope.

32:49.180 --> 32:54.400
Seth Lerer writes about
Auerbach:

32:54.400 --> 32:58.100
"Auerbach finds an
apparently low or humble diction

32:58.101 --> 33:01.871
pressed into the service of
transcendent spirituality.

33:01.868 --> 33:05.298
Developing an argument of
Augustians here on the power of

33:05.298 --> 33:08.788
the Christian words stripped of
the trappings of classical

33:08.790 --> 33:11.790
eloquence,
Auerbach sees the progress of

33:11.789 --> 33:15.809
late antique and medieval
literature as moving inexorably

33:15.807 --> 33:19.607
towards a synthesis of the
humble and the sublime.

33:19.608 --> 33:22.678
[One could say that the
Quixote embodies such a

33:22.679 --> 33:25.169
synthesis of the humble and the
sublime].

33:25.170 --> 33:29.240
Auerbach's debt to Vico
[Giambattista Vico--he has a

33:29.243 --> 33:32.443
very nice brief name easy to
remember.

33:32.440 --> 33:37.280
He is a great Italian
philosopher of the eighteenth

33:37.279 --> 33:40.859
century]
have been brought out to show

33:40.859 --> 33:43.569
his understanding."

33:43.568 --> 33:48.938
Vico found that the stories,
the literature,

33:48.940 --> 33:55.190
the lore of the people are very
much a part of their culture and

33:55.193 --> 33:59.073
has a philosophy--
I'm just simplifying this--that

33:59.065 --> 34:02.185
is very compelling because,
his basic argument is,

34:02.192 --> 34:05.422
that humans understand only
that which was created by

34:05.416 --> 34:07.136
humans,
not by gods.

34:07.140 --> 34:12.050
Therefore, he has the story of
mankind begin not with Genesis

34:12.048 --> 34:16.218
but after the flood,
when man remakes on his own the

34:16.221 --> 34:17.041
world.

34:17.039 --> 34:20.459
This is just so that you can
read Vico some day as an

34:20.461 --> 34:23.821
enticement, but of course,
it's a simplification.

34:23.820 --> 34:31.030
Now, you will see all of this
in action and understand much

34:31.027 --> 34:37.357
better the essay on the
enchanted Dulcinea with this

34:37.364 --> 34:39.234
background.

34:39.230 --> 34:42.100
Having said that,
that chapter on the

34:42.099 --> 34:44.969
Quixote is a very polemical
one,

34:44.969 --> 34:50.449
that was very badly received by
hispanists and by Cervantes

34:50.445 --> 34:52.685
scholars--
it was added to Mimesis

34:52.693 --> 34:55.483
later--
because through his study of

34:55.480 --> 35:00.730
the mixture of styles Auerbach
comes up with the idea in the

35:00.728 --> 35:02.618
end--
that I think is very

35:02.619 --> 35:05.509
questionable--that the
Quixote is mainly or

35:05.510 --> 35:09.520
essentially a comical book,
but we will get to that after

35:09.518 --> 35:13.878
you've read that essay on a
chapter that you will have read

35:13.878 --> 35:16.188
by then,
or are reading now,

35:16.186 --> 35:20.256
that hilarious chapter when
Sancho tries to convince Don

35:20.262 --> 35:24.712
Quixote that these wenches that
come on from donkeys includes

35:24.708 --> 35:27.948
Dulcinea,
and it's an episode that I will

35:27.949 --> 35:31.659
be discussing later,
it's an episode that always

35:31.659 --> 35:34.919
makes me laugh every time I
reread it,

35:34.920 --> 35:37.330
no matter how many thousands of
times,

35:37.329 --> 35:42.679
I laugh, particularly when Don
Quixote reports that the alleged

35:42.679 --> 35:47.599
Dulcinea smelled of raw garlic
and that he was dismayed by

35:47.597 --> 35:49.937
this,
but we'll get to it,

35:49.936 --> 35:53.166
we'll talk about that,
but that's part of the humble,

35:53.170 --> 35:53.610
you see?

35:53.610 --> 35:55.680
That's part of the realism that
has to do with the comical the

35:55.675 --> 35:56.415
humble and so forth.

35:56.420 --> 36:01.740
So I have been anticipating
ideas about the Renaissance and

36:01.737 --> 36:06.687
the Baroque and it is time that
we begin a more focused

36:06.688 --> 36:12.188
discussion on this period of
Western art and literature.

36:12.190 --> 36:15.560
It is useful to be able to
place a work like the

36:15.561 --> 36:19.271
Quixote within this period
of art and literature.

36:19.268 --> 36:23.778
It cannot be the goal of our
readings,

36:23.780 --> 36:29.900
it is something that helps our
enjoyment and understanding of a

36:29.896 --> 36:34.046
book such as this,
but does not explain it away.

36:34.050 --> 36:38.130
Now, first, to have a clear
chronological notion,

36:38.130 --> 36:41.650
let us say that the Renaissance
covers from the fourteenth and

36:41.648 --> 36:44.838
fifteenth century,
and the Baroque the seventeenth

36:44.835 --> 36:47.255
century and parts of the
eighteenth,

36:47.260 --> 36:48.970
so we could have a scheme,
let me see,

36:48.969 --> 36:52.239
I was thinking of how to--we
can say--

36:52.239 --> 36:54.969
this is all going to be very
simplistic;

36:54.969 --> 36:59.449
this is Middle Ages,
and then from the fourteenth,

36:59.449 --> 37:04.639
fifteenth--let's see if I can
make it at least readable--

37:04.639 --> 37:12.379
and sixteenth centuries,
parts of it,

37:12.380 --> 37:20.940
this is the Renaissance,
and from here through the

37:20.936 --> 37:28.936
eighteenth is the Baroque,
which has a further development

37:33.110 --> 37:36.570
In one of my quotes,
then, Wellek will mention

37:36.565 --> 37:40.635
German expressionism at the
beginning of the twentieth

37:40.637 --> 37:42.317
century;
expressionism,

37:42.324 --> 37:44.184
this is so that you have an
idea.

37:44.179 --> 37:50.139
Okay?

37:50.139 --> 37:58.559
So the Renaissance covers from
the fourteenth to the fifteenth

37:58.561 --> 38:06.851
century, and the Baroque from
the seventeenth century through

38:06.846 --> 38:09.466
the eighteenth.

38:09.469 --> 38:11.609
The Renaissance,
as we have seen,

38:11.612 --> 38:14.962
is the period when Western
thought breaks away from

38:14.961 --> 38:18.641
medieval ideas and practices,
which were centered on

38:18.641 --> 38:22.301
religious doctrine,
and humanists attempt to revive

38:22.300 --> 38:25.980
the classical age,
Greek and Roman arts and ideas.

38:25.980 --> 38:30.350
It is a more secular period in
which Neo-Platonism is one of

38:30.353 --> 38:34.283
the principle trends of thought,
basically the idea of

38:34.280 --> 38:38.330
perfection achieved through love
and the possibility of achieving

38:38.333 --> 38:41.883
perfection by imitating the
harmonious forms of classical

38:41.880 --> 38:42.450
art.

38:42.449 --> 38:45.919
There is an inherent optimism
in the Renaissance and in

38:45.918 --> 38:49.898
humanism in general because it
is hoped that the revival of the

38:49.900 --> 38:54.130
classical past will reanimate,
revive the present and bring

38:54.132 --> 38:57.882
back a golden age,
as we saw expressed by Don

38:57.878 --> 38:59.488
Quixote's speech.

38:59.489 --> 39:04.109
Also there is confidence in
human agency in the ability to

39:04.108 --> 39:08.968
bring about perfection to the
practice of classical norms.

39:08.969 --> 39:12.809
Utopia is one of the
Renaissance ideas and ideals

39:12.809 --> 39:16.729
which gain concretion in Thomas
More's famous book

39:16.730 --> 39:18.170
Utopia.

39:18.170 --> 39:22.010
The perfect society is
obtainable through the

39:22.007 --> 39:24.797
application of rational norms.

39:24.800 --> 39:28.350
There can be a perfect ruler,
as described by Machiavelli in

39:28.347 --> 39:31.037
The Prince,
and a perfect courtier,

39:31.036 --> 39:35.066
as described by Castiglione in
The Book of the Courtier,

39:35.070 --> 39:40.350
and even a perfect knight,
as presented in the romances of

39:40.347 --> 39:42.877
chivalry,
fourteenth and fifteenth

39:42.878 --> 39:43.408
century.

39:43.409 --> 39:47.489
Nature and its representation
can be harmonious and beautiful,

39:47.490 --> 39:51.640
perfect beauty is available in
nature and attainable in art.

39:51.639 --> 39:53.489
The Baroque,
on the other hand,

39:53.492 --> 39:56.522
is an age in which
disappointment with these ideas

39:56.518 --> 40:00.748
and aspirations are expressed,
and the perfect forms of the

40:00.753 --> 40:05.133
Renaissance are twisted and
turned to generate a complicated

40:05.126 --> 40:09.716
convoluted form of art that has
often been seen as the blending

40:09.719 --> 40:14.089
of Renaissance forms with gothic
ones by looking back to the

40:14.092 --> 40:15.502
Middle Ages.

40:15.500 --> 40:22.230
Therefore, the Baroque would be
turning these Renaissance

40:22.233 --> 40:29.813
neoclassical forms back to the
Middle Ages and to the Gothic.

40:29.809 --> 40:34.039
Think of the Gothic as the
cathedrals like that,

40:34.043 --> 40:38.463
and think of Classicism as
buildings like that.

40:38.460 --> 40:43.750
This is all very simplified,
but I want you to have clear

40:43.746 --> 40:47.426
ideas, which you can then
complicate.

40:47.429 --> 40:49.309
Where there is light in the
Renaissance,

40:49.309 --> 40:51.869
there is darkness,
or at least chiaroscuro,

40:51.869 --> 40:53.999
a word that I introduced you to
before,

40:54.000 --> 40:56.750
in the Baroque,
a mixture of darkness and

40:56.750 --> 40:57.300
light.

40:57.300 --> 41:01.050
The discussions of the priest
and the barber with Don Quixote

41:01.054 --> 41:04.314
seem to center on the
disappointments of the age,

41:04.309 --> 41:08.339
along with the game of
illusions, Part II is going to

41:11.900 --> 41:16.640
a word that I mentioned before
that I'm going to mention again

41:16.639 --> 41:19.359
today and discuss in some
detail.

41:19.360 --> 41:24.300
When the games prove to be
nothing more than that,

41:24.300 --> 41:29.240
games of illusions,
Renaissance optimism gives way

41:29.242 --> 41:32.372
to Baroque disillusionment.

41:32.369 --> 41:36.719
The commonplace then is that
Part I of the Quixote

41:36.724 --> 41:41.084
belongs to the Renaissance and
Part II to the Baroque.

41:41.079 --> 41:43.879
Think of the two ages that
Elliott spoke about in that

41:43.880 --> 41:46.100
quote that I read to you from
the book,

41:46.099 --> 41:50.789
one of imperial expansion and
another of imperial retreat.

41:50.789 --> 41:53.059
This is an over simplification,
of course,

41:53.059 --> 41:56.529
but there is enough truth in it
to merit consideration,

41:56.530 --> 42:01.350
so I will devote some time to
the concept of 'baroque' today.

42:01.349 --> 42:07.119
What is understood by 'baroque'
in general?

42:07.119 --> 42:09.149
People have a general idea,
a vague idea;

42:09.150 --> 42:13.500
'this is very baroque'.

42:13.500 --> 42:15.890
By that, it's something very
complicated, needlessly

42:15.893 --> 42:16.553
complicated.

42:16.550 --> 42:20.570
Webster's definition is good
enough: "irregular in shape

42:20.570 --> 42:24.530
like some pearls [actually the
name 'baroque' comes with the

42:24.525 --> 42:29.385
names of some irregular pearls];
artistically irregular,

42:29.389 --> 42:34.969
incongruous or fantastic;
as a style of architectural and

42:34.967 --> 42:39.397
other decoration of the
seventeenth and eighteenth

42:39.402 --> 42:41.762
century;
tastelessly odd,

42:41.764 --> 42:44.244
bizarre and grotesque."

42:44.239 --> 42:47.189
You do not want to be called
baroque.

42:47.190 --> 42:52.110
Some of its features are
excessive accumulation,

42:52.112 --> 42:56.722
difficulty, obscurity and
literally darkness,

42:56.721 --> 42:59.131
chiaroscuro.

42:59.130 --> 43:04.720
A good example is Bernini's
Saint Theresa in

43:04.717 --> 43:08.827
Ecstasy--
we have a problem of

43:08.831 --> 43:11.811
chiaroscuro here--

43:11.809 --> 43:20.959


43:20.960 --> 43:23.790
where one sees the effects of
the spiritual or the physical,

43:23.789 --> 43:29.619
which cannot express the
sublime feeling of union with

43:29.619 --> 43:30.279
God.

43:30.280 --> 43:33.060
You can see,
she is in ecstasy,

43:33.056 --> 43:38.606
and the folds of her clothing
express this sublime feeling of

43:38.610 --> 43:41.710
union,
clothing expressing mood by its

43:41.711 --> 43:43.321
folds,
body covered,

43:43.322 --> 43:46.212
except for the hand and the
foot--

43:46.210 --> 43:49.560
I can't see the foot there--and
the face,

43:49.559 --> 43:52.349
of course, in that moment of
ecstasy.

43:52.349 --> 43:57.259
This is certainly not a
Renaissance statue,

43:57.260 --> 44:02.210
think of Michelangelo's
David or something like

44:02.211 --> 44:04.741
that,
this is, not because of its

44:04.737 --> 44:07.607
twists,
and folds, and so forth,

44:07.606 --> 44:11.356
this is a Bernini statue,
typical of the Baroque.

44:11.360 --> 44:16.470
Another good example is Antonio
Pereda's The Cavalier's

44:16.472 --> 44:20.832
Dream,
where the ephemeral nature of

44:20.829 --> 44:24.979
the real is emphasized,
and, of course,

44:24.980 --> 44:30.020
the Baroque emphasizes images
of death and of decay,

44:30.018 --> 44:37.048
so his dream turns into a
theater, death,

44:37.050 --> 44:39.670
books and so forth.

44:39.670 --> 44:48.210
This is a baroque dream that
this cavalier is having.

44:48.210 --> 44:51.040
His name is,
by the way, Antonio Pereda,

44:51.041 --> 44:53.511
and the previous one is
Bernini.

44:53.510 --> 44:57.900
So I wanted you to have those,
but I'm going to give you some

44:57.896 --> 45:00.746
more examples that are close at
hand.

45:00.750 --> 45:07.050
So let me comment on a few
quotations on the Baroque.

45:12.271 --> 45:15.821
professor at Yale for many
years,

45:15.820 --> 45:20.100
a Yalie and a professor,
he died about two years ago at

45:20.097 --> 45:22.077
age about ninety-eight.

45:22.079 --> 45:26.619
He wrote: "It is generally
agreed today that the Baroque

45:26.621 --> 45:30.941
was in Europe an artistic
climate created by the spiritual

45:30.936 --> 45:33.886
climate of the Counter
Reformation.

45:33.889 --> 45:35.569
[Now you know what the Counter
Reformation is,

45:35.570 --> 45:38.070
having read Elliott,
that movement in Spain that

45:38.072 --> 45:40.792
countered the Reformation in the
rest of Europe,

45:40.789 --> 45:43.929
mostly Germany,
the Council of Trent,

45:43.929 --> 45:44.939
and all of that.

45:44.940 --> 45:46.270
I go on with Arrom].

45:46.268 --> 45:51.058
This climate acted like an
obscure force that pushed toward

45:51.063 --> 45:56.113
a return to what was before the
eruption of the Renaissance [a

45:56.106 --> 46:00.976
return back to the Middle Ages]
to jump back to grounds that

46:00.983 --> 46:06.443
because they had not been turned
appeared to be more secure.

46:06.440 --> 46:09.280
In this jump back,
Europeans constrained by the

46:09.280 --> 46:13.050
landscape of their own history,
fell on to intellectual and

46:13.047 --> 46:16.687
artistic currents that were
aesthetically akin to the Gothic

46:16.693 --> 46:20.033
and intellectually to the Middle
Ages [the Gothic,

46:20.030 --> 46:25.600
my depiction there of the
Gothic cathedral]."

46:25.601 --> 46:26.741
Unquote.

46:26.739 --> 46:29.509
In Spain, the renewal of
scholastic thought and the

46:29.510 --> 46:32.670
retrenchment brought about by
the Counter Reformation,

46:32.670 --> 46:39.230
in general, signifies this,
and lead towards the Baroque,

46:39.230 --> 46:41.060
because there can be,
of course, no return in

46:41.061 --> 46:43.471
history,
and what turns out is something

46:43.467 --> 46:47.067
completely new the mixture,
the very uneasy mixture of

46:47.065 --> 46:49.725
Renaissance forms with Medieval
ones,

46:49.730 --> 46:52.160
and that turns out to be the
Baroque.

46:52.159 --> 46:54.629
I hope you follow this back and
forth.

46:59.289 --> 47:04.489
whom I mentioned before,
a great professor of

47:04.487 --> 47:10.407
comparative literature here,
of Czech origin--the concept of

47:10.405 --> 47:12.875
Baroque and literary
scholarship;

47:12.880 --> 47:17.260
this is a little denser because
it has to do with the critical

47:17.264 --> 47:21.724
concept of the Baroque but I
want you to have an idea of it.

47:21.719 --> 47:25.549
Wellek traces the development
of the term 'baroque,' above

47:25.548 --> 47:28.568
all, its transfer from art
history to literary

47:28.572 --> 47:29.852
historiography.

47:29.849 --> 47:34.719
The term "baroque"
began as a term in art history.

47:34.719 --> 47:38.889
He links the dissemination of
the concept to use that Oswald

47:38.894 --> 47:43.004
Spengler makes of it in The
Decline of the West--

47:43.000 --> 47:47.450
The Decline of the West
by Oswald Spengler was a very,

47:47.449 --> 47:50.389
very important book in the
twentieth century,

47:50.389 --> 48:01.599
late teens early twenties,
early twentieth century,

48:01.599 --> 48:03.429
The Decline of the West.

48:03.429 --> 48:05.999
It was a book that was misused
by the Nazis and so forth,

48:05.998 --> 48:07.098
but was very powerful.

48:07.099 --> 48:10.559
I see it as a synthesis of
Hegel and Nietzsche,

48:10.559 --> 48:14.609
but that's too much to explain
today--

48:14.610 --> 48:18.920
and the relationship
established with expressionism

48:18.922 --> 48:22.722
at the beginning of the
twentieth century.

48:22.719 --> 48:27.219
Wellek thinks that the
popularity of the baroque came

48:27.224 --> 48:30.694
because critics saw an
expressionism,

48:30.690 --> 48:33.320
which is a kind of poetry in
Germany at the beginning of the

48:33.322 --> 48:35.022
twentieth century,
in the 1920s,

48:35.023 --> 48:37.263
a very convoluted complicated
poetry;

48:37.260 --> 48:42.440
they saw that as a kind of
return to the baroque.

48:42.440 --> 48:49.530
I hope this very crude drawing
of mine can help you visualize

48:49.534 --> 48:51.194
all of this.

48:51.190 --> 48:56.330
Wellek distinguishes between
those who want to turn baroque

48:56.326 --> 49:00.116
into a typology;
that is, that the whole of art

49:00.123 --> 49:04.463
history is a back and forth
between Renaissance and Baroque,

49:04.456 --> 49:07.726
Renaissance and Baroque;
it's like others who have tried

49:07.728 --> 49:09.928
to turn all of literary history
to Romanticism and the

49:09.931 --> 49:11.971
Enlightenment,
Romanticism and Neo-Classicism;

49:11.969 --> 49:14.599
he is against all of those.

49:14.599 --> 49:19.969
And, this is the most important
quote, and let me see if I can

49:19.965 --> 49:24.275
unpack it for you,
the word here that is important

49:24.275 --> 49:26.645
is that big word there.

49:26.650 --> 49:28.050
What does synesthesia
mean?

49:28.050 --> 49:35.210
Synesthesia means to
express one sense through

49:35.211 --> 49:38.451
another;
that is, when you say it's a

49:38.447 --> 49:41.167
blue sound, that's a
synesthesia;

49:41.170 --> 49:45.040
or a shrill color,
shrill is sound and you apply

49:45.036 --> 49:48.076
it to color,
that is synesthesia,

49:48.081 --> 49:51.511
it's a combination of
sensations from various senses

49:51.505 --> 49:53.245
used one for the other.

49:53.250 --> 49:54.780
You understand what I'm trying
to say?

49:54.780 --> 49:56.310
Is that clear? Okay.

49:56.309 --> 50:00.199
"For many other writers it
would be possible to see an

50:00.202 --> 50:04.232
indubitable connection between
the emblematic image and their

50:04.230 --> 50:07.920
belief in the pervasive
parallelism between microcosm or

50:07.922 --> 50:11.952
macrocosm in some vast system of
correspondences which can be

50:11.949 --> 50:14.969
expressed only by sensuous
symbolism.

50:14.969 --> 50:18.599
The prevalence of synesthesia,
which in the Renaissance occurs

50:18.596 --> 50:21.806
only under such traditional
figures as the music of the

50:21.806 --> 50:24.746
spheres,
but during the Baroque boldly

50:24.753 --> 50:29.033
hears colors and sees sounds is
another indication of this

50:29.027 --> 50:33.447
belief in a multiple web of
interrelation correspondences in

50:33.449 --> 50:35.249
the universe."

50:35.250 --> 50:37.890
What this means is the
following.

50:37.889 --> 50:42.149
In the Baroque there is an
attempt to reconstitute the kind

50:42.152 --> 50:46.422
of unified conception of the
universe that was prevalent in

50:46.416 --> 50:49.746
the Middle Ages,
and that you see in Dante,

50:49.750 --> 50:52.780
and that you see in the gothic
cathedrals,

50:52.780 --> 50:55.300
all centered on the figure of
the Christian God,

50:55.300 --> 50:59.740
and in all symbolism,
everything connected to it in a

50:59.735 --> 51:03.145
very harmonious and satisfying
whole,

51:03.150 --> 51:05.080
where everything has a meaning
and a place.

51:05.079 --> 51:09.579
In the Baroque,
this set of correspondences

51:09.583 --> 51:12.763
tries--
the writers and the artists try

51:12.760 --> 51:15.970
to reconstruct this set of
correspondences,

51:15.969 --> 51:18.409
but this is a world that is no
longer centered--

51:18.405 --> 51:21.045
remember?--it's a world that is
post-Copernican,

51:21.050 --> 51:25.400
and it's a world during which
Galileo is producing his

51:25.396 --> 51:28.526
theories,
so it's a de-centered world.

51:28.530 --> 51:31.370
So the Baroque is an effort,
through synesthesia--

51:31.369 --> 51:34.579
that is, to express the
correspondences between colors,

51:34.579 --> 51:41.159
and sounds, and so forth--to
reconstruct through art that set

51:41.164 --> 51:46.604
of correspondences,
that harmonious world that is

51:46.599 --> 51:50.129
no longer available,
and this is what gives the

51:50.125 --> 51:51.165
Baroque this tension.

51:51.170 --> 52:01.030
The way that I explain the
Renaissance and Baroque is:

52:01.027 --> 52:09.757
think of Beinecke Plaza,
Beinecke Plaza with its columns

52:09.764 --> 52:13.964
is like the Renaissance,
only that it is an eighteenth

52:13.960 --> 52:16.560
century kind of Neo-Classicism,
but think of it,

52:16.561 --> 52:19.651
it is that kind of classical
shape.

52:19.650 --> 52:25.500
Sterling Memorial Library is
Gothic, Neo-Gothic;

52:25.498 --> 52:26.368
okay?

52:26.369 --> 52:27.209
Neo-Gothic.

52:27.210 --> 52:31.790
I often say that the McDonald's
arch is more genuine than our

52:31.793 --> 52:34.593
Neo-Gothic,
but nevertheless it's

52:34.594 --> 52:38.694
Neo-Gothic, and so the Baroque
would be a very forced

52:38.693 --> 52:43.743
combination of Beinecke Plaza
and Sterling Memorial Library,

52:43.739 --> 52:47.119
that would be the Baroque.

52:47.119 --> 52:53.559
Now, the Baroque now in Parts I
and II of the Quixote;

52:53.559 --> 52:57.889
we have spoken about Baroque
elements in Part I,

52:57.889 --> 53:03.539
particularly the grotesque in
characters like Maritornes,

53:03.539 --> 53:06.929
the play of illusion and
reality and the multiplicity of

53:06.927 --> 53:10.317
fictional levels,
the chiaroscuro of the

53:10.318 --> 53:13.668
episodes in the inn and the
knight himself,

53:13.670 --> 53:17.090
who is a combination of things,
a grotesque combination.

53:17.090 --> 53:22.510
But Part I still contains many
elements of what could still be

53:22.507 --> 53:25.347
called Renaissance aesthetics.

53:25.349 --> 53:29.049
This is so particularly in
characters such as Marcela and

53:29.047 --> 53:32.807
Dorotea, whose beauty and
perfections reflect Neo-Platonic

53:32.813 --> 53:33.543
ideals.

53:33.539 --> 53:36.649
The same is true of some of the
settings,

53:36.650 --> 53:39.070
particularly the locus
amoenus that I have

53:39.074 --> 53:42.594
mentioned several times,
where Dorotea appears washing

53:42.592 --> 53:45.322
her feet,
in an episode in which the

53:45.322 --> 53:49.222
classical background seems to be
derived from Ovid,

53:49.219 --> 53:52.739
as Tony reminded me once and I
didn't give him credit for.

53:52.739 --> 53:57.559
This is an Ovidian scene,
and the rewriting of classical

53:57.556 --> 54:01.146
models is very much a
Renaissance feature,

54:01.146 --> 54:02.456
by the way.

54:02.460 --> 54:05.620
Nature present,
because so much of Part I takes

54:05.623 --> 54:09.343
place outdoors appears to be
plentiful and orderly,

54:09.340 --> 54:13.660
except when Rocinante gets a
sudden and unexpected sexual

54:13.657 --> 54:17.687
urge and provokes a row,
as we remember.

54:17.690 --> 54:21.230
There is also a kind of
underlying sense of optimism and

54:21.226 --> 54:24.356
mirth in Part I,
even when Don Quixote is

54:24.358 --> 54:28.818
returned home in a cage which
had something carnivalesque

54:28.815 --> 54:32.075
about it--
remember that he gets home on a

54:32.081 --> 54:34.301
Sunday–and,
after all, of the various

54:34.298 --> 54:37.058
amorous conflicts are resolved,
except for the last one,

54:37.061 --> 54:41.101
whose resolution is not clear
because it's still going on.

54:41.099 --> 54:44.079
Dorotea is betrothed to
Fernando, and Lucinda to

54:44.079 --> 54:47.059
Cardenio, the captive is going
to marry Zoraida,

54:47.057 --> 54:49.147
Luis and Clara,
and so forth.

54:49.150 --> 54:52.530
Don Quixote's interventions
have an affirmative effect in

54:52.525 --> 54:54.945
the end,
the common place about this is

54:54.945 --> 54:58.455
that Renaissance aesthetics are
based on an idea of order,

54:58.460 --> 55:02.420
symmetry, and perfection
obtained by the imitation of

55:02.423 --> 55:06.693
classical models and the
striving for humanely attainable

55:06.693 --> 55:09.613
goals: human agency,
self fashioning,

55:09.608 --> 55:12.128
straight angles,
horizontal lines meeting

55:12.134 --> 55:14.714
vertical ones,
ordered repetition in the

55:14.710 --> 55:15.230
columns.

55:15.230 --> 55:18.430
All of these are Renaissance
features, the repetition of all

55:18.427 --> 55:20.647
of these stories is like those
columns.

55:20.650 --> 55:24.930
Part II, however,
is going to be much more

55:24.934 --> 55:25.984
Baroque.

55:25.980 --> 55:29.060
I have already said that much
of it takes place within

55:29.061 --> 55:31.621
buildings and that it is
generally darker.

55:31.619 --> 55:34.139
There is a chiaroscuro
quality to it,

55:34.135 --> 55:36.995
and the chiaroscuro, as
I have been saying,

55:37.003 --> 55:38.763
is typical of the Baroque.

55:38.760 --> 55:41.510
There are more grotesque
elements made up of the

55:41.510 --> 55:43.970
disparate, the contrasting and
the ugly.

55:43.969 --> 55:47.089
Here, the key figure,
about which I will be speaking

55:47.088 --> 55:49.228
in other classes,
is the monster.

55:49.230 --> 55:53.660
It is going to take place--Part
II is going to take place not in

55:53.655 --> 55:57.095
inns or in nature,
but in lavish country and urban

55:57.097 --> 55:57.867
houses.

55:57.869 --> 56:02.889
The Baroque tends to be built
up, to be complex.

56:02.889 --> 56:08.279
In Part II we have not so much
nature as architecture or what I

56:08.280 --> 56:13.150
like to call arch-texture,
a texture that is intensified,

56:13.150 --> 56:15.500
therefore arch-texture.

56:15.500 --> 56:19.850
The multiplicity of fictional
levels is going to increase by

56:19.847 --> 56:24.267
the fact that the characters now
know and discuss Part I,

56:24.268 --> 56:26.578
and by the appearance of
Avellaneda's apocryphal

56:26.579 --> 56:30.609
Quixote, a central theme,
a narrative device of Part II

56:33.880 --> 56:37.470
disillusionment,
which could be the overarching

56:37.467 --> 56:40.117
direction and shape of the plot.

56:40.119 --> 56:44.579
In fact, one could say that the
whole of Part II is leading to

56:46.480 --> 56:49.940
This is going to be the end of
Part II and

56:54.326 --> 56:57.276
element of the Spanish Baroque.

56:57.280 --> 57:02.680
I am going to leave it there,
except to point out that I have

57:02.682 --> 57:08.362
given you in the handout with a
map of Spain behind you will see

57:16.960 --> 57:19.420
am going to begin the next
lecture with,

57:19.420 --> 57:24.560
as I apply it to the evolution,
the unfolding of the plot of

57:24.559 --> 57:26.389
the Quixote.

57:26.389 --> 57:31.999