WEBVTT

00:01.850 --> 00:08.200
Prof: Something that I
will be charting as we move

00:08.199 --> 00:14.549
through the episodes that make
up Part II is how they are

00:14.548 --> 00:20.998
reminiscent of others in Part I;
how, in many cases,

00:21.001 --> 00:28.371
these episodes in Part II are
rewritings of episodes in Part

00:28.365 --> 00:28.985
I.

00:28.990 --> 00:34.020
This is an issue that doesn't
have to be just stated,

00:34.016 --> 00:35.946
but also pondered.

00:35.950 --> 00:37.840
I mean, what does that mean?

00:37.840 --> 00:44.470
Does it make a statement about
there not being a possibility of

00:44.471 --> 00:49.241
something new and original,
of memory impinging on the

00:49.237 --> 00:53.007
present so strongly that you
cannot really move away from it,

00:53.010 --> 00:56.470
and so forth?

00:56.470 --> 01:02.780
So when I discuss these
episodes I will try to link them

01:02.780 --> 01:08.120
to episodes in Part I,
and I hope that you do the same

01:08.116 --> 01:12.176
as you read,
because the book invites you to

01:18.025 --> 01:23.735
sort of takes over as the
internal author of Part II,

01:27.897 --> 01:30.667
Quixote to do is to reenact Part
I,

01:30.670 --> 01:34.000
to be like he was in Part I and
to do the things that he did in

01:33.997 --> 01:34.477
Part I.

01:34.480 --> 01:39.000
And, in fact,
many of the characters in Part

01:39.003 --> 01:45.213
II that Don Quixote and Sancho
meet want them to act like as

01:45.209 --> 01:47.629
they did in Part I.

01:47.629 --> 01:52.579
So this is something that can
be seen as sort of an

01:52.581 --> 01:58.131
overarching topic about in my
discussions of Part II,

01:58.129 --> 02:05.859
and that I hope that you will
also do as you read and think

02:05.858 --> 02:07.988
about Part II.

02:07.989 --> 02:15.029
We are going to begin today
where we left off in the last

02:15.027 --> 02:18.587
class,
talking about that

02:18.587 --> 02:24.387
all-important term that I was
discussing,

02:37.997 --> 02:40.177
concept of the Spanish Baroque.

02:40.180 --> 02:43.340
Remember, Baroque is
essentially seventeenth century

02:43.342 --> 02:46.382
spilling over into the
eighteenth century where it

02:46.378 --> 02:50.588
becomes Rococo,
if you want to be more precise.

02:53.258 --> 02:57.178
concept of the Spanish Baroque;
it means undeceiving,

02:57.175 --> 03:03.125
opening ones eyes to reality,
awakening to the truth;

03:03.128 --> 03:06.748
these are all valid
translations of the term.

03:21.544 --> 03:23.314
one self.'

03:23.310 --> 03:29.810
This concept is fundamental to
Part II because the whole plot

03:29.812 --> 03:36.102
of the novel seems to be moving
towards disillusionment.

03:36.098 --> 03:39.758
So let me give you some
definitions of

03:45.400 --> 03:50.410
have as clear a concept,
as clear an idea of this

03:50.413 --> 03:52.293
concept as possible.

03:52.288 --> 03:58.028
The first is from Otis Green
and his book Spain and the

03:58.032 --> 04:00.452
Western Tradition.

04:00.449 --> 04:06.259
Otis Green was a great
Hispanist at the University of

04:06.263 --> 04:11.133
Pennsylvania for many years,
through the '40s,

04:11.128 --> 04:15.738
'50s, and even '60s,
and his book is a treasure of

04:15.735 --> 04:20.935
information about Spanish
literature and culture of the

04:20.939 --> 04:22.289
Golden Age.

04:26.730 --> 04:32.490
related to the sort of awakening
to the nature of reality that

04:32.492 --> 04:36.652
the prodigal son must have
experienced,

04:36.649 --> 04:41.439
'I will arise and go to my
father,' says the prodigal son.

04:41.440 --> 04:47.390
This waking to true awareness
is called 'caer en la

04:47.389 --> 04:53.909
cuenta' [in Spanish;
it's another way...]

04:53.910 --> 05:04.710
'caer en la cuenta' to
have the scales fall from one's

05:04.709 --> 05:11.009
eyes, to see things as they are.

05:11.009 --> 05:14.249
Such a state of mind is
desirable."

05:14.250 --> 05:18.760
I continue with Green:
"Disillusionment comes to

05:18.762 --> 05:23.452
be viewed even to be venerated
as a sort of wisdom,

05:23.449 --> 05:29.869
the wisdom of the stoic sapiens
or wise man of antiquity who was

05:29.867 --> 05:35.877
fully aware of what constituted
the summum bonum,

05:35.879 --> 05:40.939
the supreme good,
and was utterly un-enticed by

05:40.944 --> 05:43.374
everything else."

05:43.367 --> 05:44.577
Unquote.

05:44.579 --> 05:49.899
You know who were the stoics
were, so this wise stoic man

05:49.898 --> 05:54.928
knew what the real good was and
what was not valuable:

05:54.932 --> 06:00.822
"Caer en la cuenta
[I go on with another quote from

06:00.819 --> 06:04.769
Green],
to come to one's self was the

06:04.766 --> 06:08.916
phrase most used in connection
with the type of

06:13.519 --> 06:19.209
It signified a passing from
ignorance to knowledge,

06:19.214 --> 06:25.024
and awakening from the falsity
of one's dream."

06:25.023 --> 06:26.393
Unquote.

06:26.389 --> 06:33.759
So you can see now this
dialectic, as it were,

06:35.810 --> 06:39.610
deceit and un-deceit,
deceit and disillusionment,

06:39.610 --> 06:43.160
and coming to realize what is
the truth.

06:43.160 --> 06:47.350
The following is the quote that
I gave you at the end of the

06:47.346 --> 06:48.266
last class.

06:48.269 --> 06:55.359
It was on the back of that map
with the Don Quixote's route on

06:55.360 --> 07:00.030
the way to Saragossa,
and then the swerve to

07:00.026 --> 07:03.096
Barcelona, and it's the
following,

07:05.310 --> 07:22.020


07:29.346 --> 07:31.626
wit and rhetoric.

07:31.629 --> 07:37.539
He lived between 1601 and 1658
and he wrote a very famous

07:37.538 --> 07:39.648
allegorical novel.

07:39.649 --> 07:43.939
An allegorical novel is a novel
in which the characters

07:43.944 --> 07:46.654
represent abstractions:
reason,

07:46.649 --> 07:55.539
truth, and so forth,
and the novel is called El

08:02.439 --> 08:06.379
Here is a quote from that book,
it's the quote that you have,

08:08.949 --> 08:14.989
"The most monstrous of all
is the placing of Deceit at the

08:14.988 --> 08:20.248
world's front gate and
disillusionment at the exit--

08:20.250 --> 08:24.280
a disastrous handicap
sufficient to ruin our life

08:24.279 --> 08:25.959
entirely since ...

08:25.959 --> 08:30.879
to make a misstep at the
beginning of life causes one to

08:30.875 --> 08:35.785
lurch headlong with greater
speed each day and end up in

08:35.792 --> 08:37.582
utter perdition.

08:37.580 --> 08:41.310
Who made such an arrangement,
who ordained it?

08:41.308 --> 08:45.958
Now I am more convinced than
ever that all is upside down in

08:45.956 --> 08:46.976
this world.

08:46.980 --> 08:50.800
Disillusionment should stand at
the world's entrance and should

08:50.799 --> 08:54.559
place himself immediately at the
shoulder of the neophyte,

08:54.558 --> 08:59.528
to free him from the dangers
that lie in wait for him.

08:59.529 --> 09:03.119
But since the newcomer--by an
opposite and contrary

09:03.123 --> 09:07.153
arrangement makes his first
encounter with deceit [who at

09:07.147 --> 09:10.877
the beginning presents
everything to him in perverted

09:10.884 --> 09:14.484
and reversed order]
he heads for the left hand road

09:14.476 --> 09:17.636
and strives on to
destruction."

09:17.639 --> 09:20.219
As you can see,
this is very allegorical the

09:20.220 --> 09:22.580
left hand road;
the left is always the bad,

09:22.577 --> 09:23.417
sinister.

09:23.418 --> 09:26.638
'Sinistra' it means
left, this is why it has that

09:26.639 --> 09:27.459
connotation.

09:27.460 --> 09:35.250
The left road is the bad road,
and so you have deceit and

09:35.254 --> 09:39.264
disillusionment,
and he says,

09:39.264 --> 09:44.844
is placing deceit--if this is
the door to life,

09:44.840 --> 09:48.550
deceit is here,
and then the end of life is the

09:48.552 --> 09:51.082
other D,
Disillusionment;

09:51.080 --> 09:52.440
this is what he saying.

09:58.220 --> 10:02.070
Deceits are all of Don
Quixote's illusions,

10:02.068 --> 10:06.558
and those of the other
characters in the novel.

10:11.732 --> 10:17.092
they reach, disillusionment,
realizing that it is all vanity

10:17.086 --> 10:18.536
of vanities.

10:18.538 --> 10:24.098
This is the reason why so much
of what happens in Part II is

10:24.101 --> 10:24.951
staged.

10:24.950 --> 10:31.720
Deceit is the theatricality of
so many events which are made

10:31.722 --> 10:36.472
up, constructed;
deceit is the dream of books

10:36.471 --> 10:41.361
that Don Quixote dreams,
it is the unbroken chain of

10:41.355 --> 10:46.045
texts masked in reality,
and even of language also

10:46.048 --> 10:48.058
masking reality.

10:48.058 --> 10:55.198
So Don Quixote's dream of
books, these illusions about the

10:55.198 --> 11:02.588
romances of chivalry and the
knights of old is a deceit,

11:02.590 --> 11:06.530
and disillusionment,
is coming to realize that it is

11:06.530 --> 11:09.280
that,
that it is nothing but a

11:09.284 --> 11:14.274
deceit, and the unbroken chain
of texts is because in Don

11:14.265 --> 11:18.265
Quixote's mind one text leads to
another,

11:18.269 --> 11:19.829
leads to another,
leads to another.

11:19.830 --> 11:23.380
It's a humanist dream,
the humanists,

11:23.379 --> 11:26.139
who were philologists,
lovers of language,

11:26.139 --> 11:31.709
students of the classics,
thought in terms of texts

11:31.711 --> 11:35.271
leading to texts,
leading to texts,

11:35.265 --> 11:37.915
without ever getting to
reality,

11:37.918 --> 11:42.198
and of language of something
that has its own reality,

11:42.200 --> 11:47.440
and what the baroque does is
undermine all of that and show

11:47.440 --> 11:49.700
that it is all a dream.

11:49.700 --> 11:55.350
The best example of these
patterns of deceit and

11:55.346 --> 11:59.426
disillusionment,
or of going from deceit to

12:03.441 --> 12:05.241
Life is a Dream.

12:05.240 --> 12:09.040
I have put his name before on
the board,

12:09.038 --> 12:11.158
but I will do it again so that
you remember him,

12:11.158 --> 12:14.948
he's one of the classics of
Spanish literature--

12:14.950 --> 12:17.660
You can't see from there?

12:42.232 --> 12:43.742
of his play,
Life is a Dream,

12:43.736 --> 12:46.206
because I wrote my entire
doctoral dissertation about that

12:46.208 --> 12:49.458
play,
and it is one of the classics

12:49.455 --> 12:51.715
of Spanish literature.

12:51.720 --> 12:55.720
In that play,
Life is a Dream,

12:55.720 --> 13:01.800
in English, prince Segismundo
has been kept in a tower since

13:01.797 --> 13:06.017
birth because an omen told his
father,

13:06.019 --> 13:09.999
king Basilio,
that Segismundo would be a

13:09.996 --> 13:14.276
ruthless tyrant if he ever
became king,

13:14.278 --> 13:18.828
so he has him grow up,
since he's a baby,

13:18.830 --> 13:23.510
in a tower, cared for by
Clotaldo and so forth.

13:23.509 --> 13:29.099
To put him to a test,
Basilio has Segismundo drugged

13:29.096 --> 13:34.456
and brought to the palace,
where, when he awakens,

13:34.462 --> 13:37.752
he is treated like a king.

13:37.750 --> 13:43.810
Confused, Segismundo acts
violently,

13:43.808 --> 13:51.478
he tries to rape a woman,
throws a soldier off a balcony,

13:51.480 --> 13:54.930
and so forth,
confirming the omen,

13:54.932 --> 14:00.262
in a way,
so he is drugged and brought

14:00.259 --> 14:05.929
back to the tower where,
upon awakening,

14:05.931 --> 14:12.861
he does not know if what
happened in the palace was true

14:12.864 --> 14:15.264
or just a dream.

14:15.259 --> 14:20.099
Meanwhile, the people who have
found out about Segismundo's

14:20.104 --> 14:22.834
existence,
the people in the kingdom,

14:22.831 --> 14:26.371
revolt and come to get him to
fight against his father.

14:26.370 --> 14:30.410
Segismundo hesitates because he
does not know if this is another

14:30.412 --> 14:34.282
dream,
but decides to go with them and

14:34.282 --> 14:39.662
act prudently and justly,
this time, because he realizes

14:39.664 --> 14:43.694
that even in dreams it is best
to do the good,

14:43.690 --> 14:47.710
because if life is like a
dream, the only true life is the

14:47.710 --> 14:49.050
life after death.

14:49.048 --> 14:53.538
He dethrones his father,
but does not kill him;

14:53.538 --> 14:58.858
and marries the woman he should
marry, not the one he had lusted

14:58.857 --> 15:03.587
after during his first day in
the palace--he controls his

15:03.586 --> 15:04.596
desires.

15:04.600 --> 15:09.630
The message is that life may
very well be like a dream in a

15:09.633 --> 15:13.283
platonic sense,
but even so one must behave

15:13.278 --> 15:14.318
morally.

15:14.320 --> 15:17.460
As you can see,
the plot of the play,

15:17.460 --> 15:19.780
which I have simplified,
goes from deceit,

15:19.778 --> 15:24.568
the first visit to the palace,
to disillusionment,

15:24.570 --> 15:28.030
when Segismundo awakens back in
the tower,

15:28.028 --> 15:33.228
and wisdom, when he comes to
know that life is like a dream,

15:33.230 --> 15:37.560
as are political power,
the trappings of government,

15:37.559 --> 15:39.429
and everything else.

15:39.428 --> 15:44.158
The only thing that,
by the way, that he knows was

15:44.164 --> 15:49.294
true when he awakens in the
tower is his love for this

15:49.285 --> 15:52.435
woman,
the only continuity is the

15:52.441 --> 15:55.571
emotion of love,
and that is a neo-platonic

15:55.571 --> 15:56.931
element in the play.

15:56.928 --> 15:59.158
It's a more complicated play
than I have just made it seem

15:59.164 --> 15:59.444
here.

15:59.440 --> 16:06.990
We will have occasion--we will
see a very similar story when

16:06.994 --> 16:13.784
Sancho becomes a ruler later in
the Quixote.

16:13.778 --> 16:21.438
My suggestion here is that the
plot of the Quixote as a

16:21.436 --> 16:29.716
whole follows a similar outline
from deceit to disillusionment,

16:32.450 --> 16:36.340
We will have,
of course, occasion to revisit

16:36.339 --> 16:40.409
this when we come to the end of
the novel,

16:40.408 --> 16:45.938
but keep it in mind also,
keep all of this in mind,

16:45.940 --> 16:52.180
also, when you read for next
week the wonderful story,

16:52.178 --> 16:57.108
The Glass Graduate,
El licenciado vidriera,

16:57.110 --> 16:58.820
which you are to read for next
week--

16:58.820 --> 17:00.960
next week we have a big week,
we have The Glass

17:00.960 --> 17:03.590
Graduate,
and also we are going to be

17:03.591 --> 17:08.031
doing two of the main essays in
the Casebook, the

17:08.025 --> 17:12.705
ones by Spitzer and by Auerbach,
about whom I spoke in the last

17:12.712 --> 17:15.072
class already,
so you should be prepared to

17:15.065 --> 17:17.375
read that essay of "The
Enchanted Dulcinea,"

17:17.384 --> 17:20.014
an episode that we are going to
be discussing here today.

17:20.009 --> 17:25.299
This is so we can keep our
course not going from deceit to

17:25.298 --> 17:29.098
disillusionment,
but to be wide-eyed about

17:29.101 --> 17:32.721
everything from the very
beginning.

17:32.720 --> 17:37.920
So let us begin today as we
move to the episodes in the

17:37.920 --> 17:43.670
Quixote about the discussion
of Don Quixote and Sancho about

17:43.669 --> 17:48.869
knight-errants and saints that
I'm sure you remember.

17:48.868 --> 17:53.918
First, there is the exordium by
Cide Hamete Benengeli and

17:53.923 --> 17:59.253
comments by the narrator about
what the translator said,

17:59.250 --> 18:05.500
or what the narrator said about
Cide Hamete Benengeli,

18:05.500 --> 18:09.220
but the reader does not know
where these comments appeared--

18:09.220 --> 18:11.370
and we talked about that in the
last class.

18:11.368 --> 18:13.818
They are not in the text,
as it were,

18:13.818 --> 18:17.448
but in a sort of meta-text or
virtual text that is like a

18:17.452 --> 18:21.152
running commentary about the
composition of the novel,

18:21.150 --> 18:27.780
and this is one new feature in
Part II that I mentioned before.

18:27.778 --> 18:33.618
Now, Sancho subjects Don
Quixote to a rigorous cross

18:33.618 --> 18:40.258
examination and gets him to say
that saints are better than

18:40.259 --> 18:44.839
knights--I'm sure you remember
that.

18:51.723 --> 18:59.693
who earlier had used forensic
rhetoric to ease Don Quixote's

18:59.690 --> 19:01.040
sally.

19:05.450 --> 19:11.080
but where did Sancho learn them
or anything else,

19:11.078 --> 19:16.478
where did Sancho learn rhetoric
or all of this culture that he

19:16.484 --> 19:18.084
has in his mind?

19:18.078 --> 19:24.238
I think that the intimation is
that Sancho has learned a great

19:24.237 --> 19:28.817
deal not just from Don Quixote,
which he does,

19:28.816 --> 19:32.576
and we have seen,
but also from hearing sermons

19:32.583 --> 19:35.783
at church,
which he mentions in his

19:35.784 --> 19:38.014
discussion with his wife.

19:38.009 --> 19:42.869
The church is on this level
part of popular culture,

19:42.873 --> 19:48.313
or better, a vehicle for the
popularization of culture.

19:48.308 --> 19:54.118
Sancho may not know how to
read, but he has a culture in

19:54.115 --> 19:59.495
his head that he has absorbed
from the preachers.

19:59.500 --> 20:06.900
This is one way to explain the
evolution of Sancho and his

20:06.898 --> 20:13.128
increased intellectual and
rhetorical powers,

20:13.130 --> 20:17.200
although, of course,
his relationship with Don

20:17.203 --> 20:19.703
Quixote,
as I will mention in a couple

20:19.704 --> 20:23.604
of minutes,
is obviously the most important.

20:23.598 --> 20:28.258
The discussion per se,
the theme,

20:28.259 --> 20:30.799
the topic of the discussion is
very serious here,

20:30.798 --> 20:37.578
too, because it plays into
religious debates of the time in

20:37.577 --> 20:39.927
Spain,
whose background is the

20:39.932 --> 20:40.672
Reformation.

20:40.670 --> 20:45.340
The debates have to do with
good works and with

20:45.339 --> 20:53.239
predestination and free will,
Protestantism sided with

20:53.237 --> 20:57.837
predestination,
Catholicism,

20:57.838 --> 21:02.748
or at least one element within
Catholicism,

21:02.750 --> 21:05.080
the most important one,
for free will.

21:05.078 --> 21:07.758
So therefore,
if you had free will,

21:07.761 --> 21:12.261
you could, through good
actions, gain access to heaven.

21:12.259 --> 21:16.869
Now, these are debates that to
us,

21:16.868 --> 21:19.288
in this our secular age seem
vacuous,

21:19.288 --> 21:23.648
but they were not in the
sixteenth century at all,

21:23.650 --> 21:25.740
they were of the utmost
important.

21:25.740 --> 21:29.620
So here, in this discussion,
it is not just a question of

21:29.616 --> 21:33.536
arms versus letters,
which is a set discussion

21:33.540 --> 21:38.670
piece, although there is a
reminiscence of that here,

21:38.670 --> 21:42.350
but of good actions for their
own sake,

21:42.348 --> 21:46.448
and good actions for the sake
of glory.

21:46.450 --> 21:51.950
Sancho shows that the knight's
actions seem to be of this

21:51.954 --> 21:54.924
second kind,
actions to gain glory,

22:00.528 --> 22:04.348
So to perform actions for the
sake of glory is to perform

22:08.308 --> 22:14.748
Don Quixote counters by saying
that there were knights who were

22:14.753 --> 22:15.693
saints.

22:15.690 --> 22:19.530
I suppose that he refers to
Saint George particularly,

22:19.526 --> 22:23.286
and adds that not everyone can
be a monk, he says.

22:23.288 --> 22:25.978
Cervantes is,
I think, pitting his

22:25.979 --> 22:29.319
relativistic and liberal take on
life,

22:29.318 --> 22:34.118
which is not antireligious,
against the religious zealots

22:34.123 --> 22:36.793
of the time,
I think, through this

22:36.785 --> 22:38.745
discussion of his characters.

22:38.750 --> 22:43.670
So the discussion has a
contemporary relevancy that is

22:43.672 --> 22:48.642
political as well as religious,
and this is connected to what I

22:48.636 --> 22:51.726
said in one of my earlier
lectures about the fact that

22:51.728 --> 22:54.118
Part II is the first political
novel,

22:54.118 --> 22:59.308
because religion and politics
were intertwined in the Spain of

22:59.305 --> 23:02.785
the sixteenth and seventeenth
century,

23:02.788 --> 23:07.988
with all of the caveats that we
have learned by reading Elliott.

23:07.990 --> 23:13.770
So this discussion of the two
characters about this issue is

23:13.772 --> 23:18.382
consonant with the political
side of Part II.

23:18.380 --> 23:21.810
I want to underline that,
so that you have that clear in

23:21.810 --> 23:22.560
your mind.

23:22.558 --> 23:28.718
Now, Sancho also demonstrates,
as he has before,

23:28.720 --> 23:33.700
and as he will increasingly,
that he is endowed with natural

23:33.704 --> 23:36.654
reason,
which can lead him to

23:36.652 --> 23:42.062
understand sufficiently the most
difficult questions.

23:42.058 --> 23:46.728
Natural reason is a medieval
concept that survives through

23:46.731 --> 23:50.751
the Renaissance and reaches the
Enlightenment,

23:50.750 --> 23:55.760
which underscores God's gift of
sufficient reason to every

23:55.755 --> 24:00.845
individual no matter what his
station in life to understand

24:00.846 --> 24:06.476
the fundamental questions,
issues of life.

24:06.480 --> 24:12.180
This will become an important
topic in Part II;

24:12.180 --> 24:18.370
natural reason,
and Sancho will be the exemplar

24:18.373 --> 24:19.723
of this.

24:19.720 --> 24:23.080
It is a theological concept.

24:23.078 --> 24:29.458
Now, one can see,
of course, that because Sancho

24:29.460 --> 24:34.620
has been influenced by Don
Quixote,

24:34.618 --> 24:39.098
their arguments are like
discussions the knight could be

24:39.102 --> 24:43.272
having within himself,
or with himself.

24:43.269 --> 24:52.599


24:52.598 --> 24:55.308
What is the significance of
their mutual influence?

24:55.308 --> 25:00.338
I think that to propose a
concept of the self as

25:00.339 --> 25:05.049
relational, not as individual or
isolated.

25:05.048 --> 25:11.018
Not "I think,
therefore I am"--

25:11.019 --> 25:16.059
I'm quoting Descartes,
of course, which comes a little

25:16.055 --> 25:18.955
later--
not so much "I think,

25:18.961 --> 25:22.531
therefore I am";
as "I relate to others and

25:22.527 --> 25:25.417
myself emerges from that
commerce or dialogue with

25:25.415 --> 25:26.355
others."

25:26.358 --> 25:29.768
This is what the Quixote
through this relationship

25:29.769 --> 25:33.059
between these two characters
seems to be suggesting.

25:33.058 --> 25:36.928
Now, of course,
this is a very profound

25:36.932 --> 25:40.702
philosophical statement,
a suggestion,

25:40.702 --> 25:46.922
but it also crucial in the
development of modern fiction.

25:46.920 --> 25:50.880
Think of Huck and Jim,
in Huckleberry Finn of their

25:50.875 --> 25:54.825
dialogues and of their influence
on each other,

25:54.828 --> 25:59.628
think of Holmes and
Dr. Watson,

25:59.630 --> 26:01.970
to give you an example from
popular culture,

26:01.970 --> 26:06.810
and even of those Faulknerian
characters that seem to overlap

26:06.809 --> 26:10.499
and blended to each other,
to the point that you sometimes

26:10.502 --> 26:13.432
don't know who's really speaking
in one of these Faulkner novels,

26:13.430 --> 26:16.450
you don't because his
characters consciousness are

26:16.449 --> 26:19.819
sort of blended,
and their individuality has

26:19.819 --> 26:20.879
been eroded.

26:20.880 --> 26:25.140
This is what I'm suggesting is
happening here in Don Quixote

26:25.140 --> 26:29.180
and Sancho, and why this
argument is one that Don Quixote

26:29.183 --> 26:31.643
could have had within himself.

26:31.640 --> 26:36.210
Now, this discussion also
brings up Don Quixote's

26:36.207 --> 26:41.057
knowledge of classical Rome and
its architecture.

26:41.058 --> 26:44.588
Rome is the city par
excellence in the

26:44.589 --> 26:48.599
Renaissance, and its
architecture was the model for

26:48.603 --> 26:50.773
Renaissance architects.

26:50.769 --> 26:56.939
This shows--remember that
Cervantes spent quite a bit of

26:56.942 --> 27:00.622
time in Italy,
so when he speaks of Rome,

27:00.622 --> 27:04.172
he's speaking not only of
things he has read about in

27:04.167 --> 27:06.237
books,
but also things that he has

27:06.240 --> 27:06.550
seen.

27:06.548 --> 27:11.278
Now, this shows that Don
Quixote is a humanist,

27:11.278 --> 27:16.518
that he has read beyond the
romances of chivalry.

27:16.519 --> 27:19.919
In Part II, we are beginning to
enlarge Don Quixote's library,

27:19.920 --> 27:24.550
we cannot reduce it to the
romances of chivalry that we

27:24.548 --> 27:30.118
found with the barber and priest
in the scrutiny of the books,

27:30.119 --> 27:31.829
but he had read other things.

27:31.828 --> 27:40.288
It also anticipates Part II's
projection beyond Spain.

27:40.288 --> 27:44.318
I say beyond Spain because as
Don Quixote and Sancho go to

27:44.318 --> 27:48.698
Barcelona they are moving to a
part of Spain that is almost not

27:48.702 --> 27:49.412
Spain.

27:54.220 --> 28:00.390
a part of Spain that is very
independent in its culture and

28:00.394 --> 28:03.814
has,
in fact, tried to become

28:03.811 --> 28:08.481
independent several times,
and also, of course,

28:08.477 --> 28:12.957
the battles that you will see
at the end of the book beyond

28:12.962 --> 28:17.512
the shores of Barcelona,
move beyond the borders of

28:17.505 --> 28:22.435
Spain, so this projection
towards Italy is important in

28:22.438 --> 28:23.898
that respect.

28:23.900 --> 28:28.990
But also this discussion points
out that architecture is an

28:28.992 --> 28:31.542
important issue in Part II.

28:31.538 --> 28:36.228
It's an important issue
because, as I have mentioned

28:36.227 --> 28:41.187
before, a great deal of Part II
takes place indoors;

28:41.190 --> 28:43.900
in houses, in mansions and so
forth.

28:43.900 --> 28:50.130
In Part II, we have less,
although there are some,

28:50.130 --> 28:57.960
of those two places that I
mentioned in Part I:

28:57.961 --> 29:03.961
the despoblado,
the unpopulated--Remember that

29:03.955 --> 29:09.345
that is even a legal concept,
that area where the law does

29:09.346 --> 29:13.836
not reach--
and the other one that I didn't

29:13.835 --> 29:17.125
put on the board,
but you must have seen the word

29:17.133 --> 29:19.343
many times,
these are the soledades.

29:19.338 --> 29:27.538
Soledades are when you
are out in the wild.

29:27.538 --> 29:33.728
There's less of this in Part II
and more of shelter,

29:33.730 --> 29:37.640
more of architecture,
and this is why the discussion

29:37.643 --> 29:40.563
on roman architecture is
important,

29:40.558 --> 29:44.618
above all, in the context of
humanism,

29:44.618 --> 29:48.468
and the Renaissance,
and the copying of Rome's

29:48.467 --> 29:51.377
architecture and the,
of course, the development of

29:51.381 --> 29:52.571
what will become Baroque
architecture,

29:52.568 --> 29:56.148
and that scheme that I gave you
about Beinecke Plaza,

29:56.150 --> 29:58.650
Sterling Memorial;
you blend them,

29:58.652 --> 30:01.752
force them together and you get
the Baroque.

30:01.750 --> 30:09.720
Now, this emphasis on cities
brings us to the entry into El

30:09.721 --> 30:10.961
Toboso.

30:10.960 --> 30:18.020
The third sally takes place at
night,

30:18.019 --> 30:23.129
and a day goes by,
and then, at night they enter

30:23.125 --> 30:26.925
the town,
the village of El Toboso,

30:26.930 --> 30:31.800
and being at night,
this anticipates much of the

30:31.798 --> 30:33.478
mood of Part II.

30:33.480 --> 30:36.420
Remember, Part I began at dawn.

30:36.420 --> 30:42.510
Don Quixote and Sancho want to
arrive in the town at night so

30:42.505 --> 30:47.375
as not to be noticed,
and that night is called in the

30:47.378 --> 30:50.368
Spanish una noche
entreclara,

30:50.368 --> 30:54.438
"a night that was not
quite a dark one"

30:54.438 --> 30:57.908
says Jarvis,
and this, I underlined because

30:57.913 --> 31:01.003
of the concept of
chiaroscuro that I

31:00.997 --> 31:04.867
mentioned before,
the concept of

31:04.866 --> 31:14.006
chiaroscuro as something
proper to the Baroque.

31:14.009 --> 31:17.979
"Una noche
entreclara."

31:17.980 --> 31:22.820
There is darkness,
sounds, dogs barking,

31:22.817 --> 31:26.457
donkeys braying,
swine grunting,

31:26.457 --> 31:29.907
cats meowing,
a plough being dragged,

31:29.910 --> 31:36.020
there is an eeriness to this
town augmented by these sounds.

31:36.019 --> 31:41.089
The farmhand they meet is
singing a song about a great

31:41.094 --> 31:45.694
defeat which adds to the omens,
the bad omens.

31:45.690 --> 31:49.610
Sounds, as opposed to visual
signs, appear before them.

31:49.608 --> 31:53.958
In Part I we had the fulling
hammers, but in Part II there

31:53.961 --> 31:57.321
will be many more sounds,
as you will see.

31:57.318 --> 32:01.298
These sounds here are scary by
virtue of the fact that you

32:01.298 --> 32:04.438
cannot see their source,
you can only hear.

32:04.440 --> 32:07.360
Seeing is going to be a
different problem in Part II

32:07.359 --> 32:09.479
because of the increasing
darkness.

32:09.480 --> 32:14.960
This is the first time that Don
Quixote and Sancho come into a

32:14.963 --> 32:19.643
town and it anticipates the
entry into Barcelona,

32:19.640 --> 32:21.860
a city, a great city,
towards the end of the novel.

32:21.858 --> 32:23.888
What is the significance of
this?

32:23.890 --> 32:27.010
I have mentioned this,
the novel, which develops from

32:27.009 --> 32:30.399
the Quixote,
will be for the most part an

32:30.395 --> 32:33.795
urban genre,
a genre often about cities,

32:33.803 --> 32:38.043
modern cities,
and Don Quixote's influence on

32:38.036 --> 32:42.836
the history of the novel
includes this urban part of

32:42.842 --> 32:46.592
the Quixote,
particularly as you will see

32:46.590 --> 32:48.850
when you get to the Barcelona
chapters.

32:48.848 --> 32:53.558
Here, El Toboso appears as a
haunted city with blind allies

32:53.563 --> 32:56.653
and peopled by strangers,
the farmhand,

32:56.651 --> 32:59.741
who do not know anything about
it.

32:59.740 --> 33:03.460
The farmhand is an outsider who
cannot give them directions.

33:03.460 --> 33:08.320
I have always been puzzled and
sort of even scared by this

33:08.317 --> 33:13.517
farmhand in the middle of night
who doesn't even know where he

33:13.518 --> 33:15.358
is,
and I think I know why,

33:15.355 --> 33:17.455
and if you will allow me a
little anecdote:

33:17.464 --> 33:20.384
I was lost in the Pennsylvania
turnpike at night once,

33:20.380 --> 33:24.320
trying to find a town
improbably called Indiana,

33:24.318 --> 33:26.668
Pennsylvania,
where I was giving a lecture.

33:26.670 --> 33:30.170
I got off the turnpike and I
was lost, in little towns,

33:30.172 --> 33:32.902
in Pennsylvania,
they were dark with little

33:32.895 --> 33:33.605
lights.

33:33.608 --> 33:37.818
I drove my rented car towards
the sidewalk,

33:37.818 --> 33:41.098
because I saw a man coming,
I lowered the window and I

33:41.095 --> 33:42.835
said,
"Could you tell me how to

33:42.836 --> 33:44.536
get to the turnpike,"
and he went,

33:44.539 --> 33:48.219
"I'm deaf. I'm deaf."

33:48.220 --> 33:50.120
I said, "Oh God,
he's deaf,

33:50.118 --> 33:51.628
he can't help me,"
I raised the window,

33:51.630 --> 33:53.730
and I followed,
and I found a little gas

33:53.730 --> 33:55.780
station with one little light
bulb,

33:55.779 --> 33:59.759
and I got out of the car,
and this guy came out with only

33:59.758 --> 34:02.648
one eye,
he had a hole on the other side;

34:02.650 --> 34:06.140
I said, this guy can't help me,
and so I was lost for hours,

34:06.140 --> 34:09.600
they were about to send for the
National Guard,

34:09.599 --> 34:14.139
I finally found Indiana of
Pennsylvania,

34:14.139 --> 34:18.259
where I was lodged in a Holiday
Inn with a Mexican motif,

34:18.260 --> 34:20.330
and I was given the Taco Room.

34:20.329 --> 34:24.699
So this is my anecdote,
and this is what brings to mind

34:24.701 --> 34:29.881
this farmhand who appears in the
middle of the night and can't be

34:29.882 --> 34:33.852
of any help because he doesn't
know anything;

34:33.849 --> 34:36.169
he's not from there.

34:36.170 --> 34:44.430
So there are deep resonances,
to me,

34:44.429 --> 34:49.359
of Spanish mysticism in this
dark, night of the soul to echo

34:49.362 --> 34:54.092
Saint John of the Cross,
the great Spanish mystic poet;

34:54.090 --> 34:58.440
it's the name of one of his
great poems, "Noche oscura

34:58.436 --> 34:59.706
del alma."

34:59.710 --> 35:08.260
It recalls seeing the depths of
the soul in the darkness of

35:08.260 --> 35:09.440
night.

35:09.440 --> 35:15.640
Sancho is actually looking for
a memory that is a lie,

35:15.639 --> 35:21.069
the story he made up about
going to El Toboso remembering

35:21.068 --> 35:25.138
something that he knows does not
exist,

35:25.139 --> 35:28.099
he's trying to remember
something that he knows does not

35:28.103 --> 35:30.223
exist,
it's a made up memory,

35:30.219 --> 35:34.669
and Don Quixote is looking for
a non-existent lady who is the

35:34.668 --> 35:38.668
object of his devotion:
both protagonists are searching

35:38.672 --> 35:41.862
for intangibles in the dark of
night,

35:41.860 --> 35:46.090
as if it were,
within their troubled spirits,

35:46.090 --> 35:49.600
and this is the,
I think, the impression,

35:49.599 --> 35:53.209
that this El Toboso at night
conveys.

35:53.210 --> 35:59.030
Right away we come upon a line
that has inspired much useless

35:59.029 --> 36:02.799
commentary;
when looking for Dulcinea they

36:02.800 --> 36:04.560
run into the church.

36:04.559 --> 36:10.569
The line in Spanish reads:
"Con la iglesia hemos

36:10.565 --> 36:12.565
dado,
Sancho,"

36:12.570 --> 36:16.060
Jarvis translates:
"We are come to the

36:16.063 --> 36:18.063
church, Sancho."

36:18.059 --> 36:23.699
Modern readers have seen in
that sentence a hidden meaning,

36:23.699 --> 36:26.739
that is, that Cervantes is
decrying the interference of the

36:26.739 --> 36:29.439
church in all affairs,
and the line has even become a

36:29.436 --> 36:32.156
standard phrase in Spanish to
say that you have come against

36:32.163 --> 36:34.153
some obstacle:
"con la iglesia hemos

36:34.150 --> 36:35.860
dado,
Sancho,"

36:35.858 --> 36:38.538
when you come against some
obstacle,

36:38.539 --> 36:41.949
particularly when you are
denied something or other.

36:41.949 --> 36:45.689
I think that is only because of
the rhythm of the way the

36:45.692 --> 36:48.472
sentence is written,
not "hemos dado con la

36:48.472 --> 36:50.632
iglesia, Sancho"
but "con la iglesia

36:50.628 --> 36:51.888
hemos dado,
Sancho,"

36:51.889 --> 36:53.659
but it doesn't have anything to
do with that,

36:53.659 --> 36:55.459
this is why I mean that it is
useless,

36:55.460 --> 37:00.320
but it has remained in the
Spanish language as a ready made

37:00.315 --> 37:01.065
phrase.

37:01.070 --> 37:04.450
I think that what is
significant here is that

37:04.452 --> 37:08.222
Dulcinea's castle has morphed
into the church,

37:08.219 --> 37:12.799
that in looking in the dark for
Dulcinea's castle they have

37:12.797 --> 37:15.147
found a church,
or the church,

37:15.152 --> 37:17.952
in the gloom,
where things are difficult to

37:17.952 --> 37:20.152
identify,
Sancho is scared because he

37:20.152 --> 37:22.522
knows that the cemeteries are
around churches,

37:22.518 --> 37:24.948
and he doesn't want to be in a
cemetery at night.

37:24.949 --> 37:27.469
This could be a telling
transformation,

37:27.469 --> 37:31.329
perhaps an indication that Don
Quixote's love is a kind of

37:31.327 --> 37:33.317
religion,
or more likely,

37:33.315 --> 37:37.465
given what will happen over and
again in Part II is an

37:37.469 --> 37:41.859
intimation of death of which
there are many in this eerie

37:41.860 --> 37:42.880
chapter.

37:42.880 --> 37:49.020
This ghostly night in El
Toboso, the first adventure in

37:49.019 --> 37:54.819
Part II, sets the tone for the
rest of the novel.

37:54.820 --> 38:00.410
So now we move to the chapter,
we're not going to go through

38:00.407 --> 38:03.827
every single chapter,
as I've mentioned before,

38:03.829 --> 38:05.989
but here we move to a very
important chapter,

38:05.989 --> 38:09.419
the one on the enchanted
Dulcinea.

38:09.420 --> 38:13.360
It's important not only because
it inspired Auerbach's famous

38:13.360 --> 38:16.120
essay of "The Enchanted
Dulcinea"

38:16.119 --> 38:20.359
that you will be reading,
but also it is a chapter that

38:20.360 --> 38:23.180
will play an important role
later,

38:23.179 --> 38:28.069
in one of the most important
episodes of Part II,

38:28.070 --> 38:29.330
one of the whole
Quixote,

38:29.327 --> 38:30.987
the episode of the cave of
Montesinos,

38:30.989 --> 38:34.569
where this enchanted Dulcinea
will come back.

38:34.570 --> 38:39.410
So, first of all,
it is one episode in which we

38:39.411 --> 38:43.731
notice, once again,
but very dramatically,

38:43.726 --> 38:49.616
an exchange of roles between
Don Quixote and Sancho.

38:49.619 --> 38:54.369
The first time was when Sancho
played the role of Don Quixote

38:54.371 --> 38:57.851
to his wife,
who was playing his own role in

38:57.847 --> 39:00.797
that hilarious dialogue that
they had,

39:00.800 --> 39:07.400
but here the exchange of roles
is much more dramatic.

39:07.400 --> 39:13.660
The first thing to notice is
Sancho's Shakespearean monologue

39:13.657 --> 39:18.867
that dramatizes his inner
conflicts and reveals his

39:18.873 --> 39:22.633
apprehensions about Don Quixote.

39:22.630 --> 39:25.110
He doesn't know quite what to
do;

39:25.110 --> 39:30.090
Sancho is here like a rustic
Hamlet: "to be or not to

39:30.088 --> 39:31.048
be."

39:31.050 --> 39:37.550
He weighs the various options
that he has, and he opts for

39:37.547 --> 39:43.927
trying to fool Don Quixote with
the trick of turning this

39:43.931 --> 39:47.581
peasant woman into Dulcinea.

39:47.579 --> 39:51.839
Sancho is becoming a fuller
character and increasingly

39:51.840 --> 39:53.850
important to the novel.

39:53.849 --> 39:57.189
He is one of the pranksters who
fool Don Quixote.

40:00.789 --> 40:03.819
like the Duke's steward who will
appear later.

40:03.820 --> 40:08.470
Also, Sancho is separated from
his master here as when he went

40:08.471 --> 40:12.741
to deliver the letter in Part I,
but this prefigures several

40:12.740 --> 40:16.300
important episodes in Part II in
which they are separated,

40:16.300 --> 40:21.290
and Sancho plays the role of
the protagonist of his own part.

40:21.289 --> 40:26.009
But the most important thing
about this Shakespearean

40:26.010 --> 40:28.060
monologue,
as I call it,

40:28.063 --> 40:31.693
is that we are exposed here to
Sancho's inner world,

40:31.690 --> 40:33.140
his world of doubts.

40:33.139 --> 40:36.619
Then, of course,
there is inversion of roles:

40:36.623 --> 40:41.063
Sancho is the one trying to
convince his master that what

40:41.059 --> 40:44.069
they see is not really a
reality,

40:44.070 --> 40:46.190
but something drawn from the
chivalric romances,

40:46.190 --> 40:49.830
and he does a pretty good
imitation of Don Quixote's own

40:49.833 --> 40:54.143
rhetoric in trying to convince
him that this wench is Dulcinea.

40:54.139 --> 40:58.269
So reality, which Don Quixote
perceives as it is,

40:58.273 --> 41:03.273
conspires spontaneously or
arranged by someone to appear as

41:03.268 --> 41:06.108
unreal, literary,
artificial.

41:06.110 --> 41:10.600
Hence, the episode depends on
the memory of Part I and of

41:10.597 --> 41:12.117
similar episodes.

41:12.119 --> 41:15.349
Here, I think,
that the episode in the

41:15.346 --> 41:18.656
background is that of the
windmills;

41:18.659 --> 41:20.199
it's that inversion.

41:20.199 --> 41:23.009
It is here Don Quixote who
says: what giants?

41:23.010 --> 41:25.440
Where is Dulcinea?

41:25.440 --> 41:27.840
What do you mean, Dulcinea?

41:27.840 --> 41:30.700
That is the episode in the
background here.

41:30.699 --> 41:35.669
Now, the peasant lass reacts to
Sancho's rhetoric a little bit

41:35.666 --> 41:40.466
like the prostitutes in the
first inn when they react to Don

41:40.471 --> 41:43.831
Quixote,
though the prostitutes in the

41:43.829 --> 41:48.589
first inn were kinder to Don
Quixote than these peasant women

41:48.585 --> 41:51.585
here,
who are very upset because they

41:51.594 --> 41:56.334
think that upper class young man
or men are making fun of them.

41:56.329 --> 42:01.229
This is really a truly
hilarious episode,

42:01.230 --> 42:05.250
one that makes me laugh,
as I said the last time,

42:05.250 --> 42:08.880
every time I reread it,
particularly the part about

42:08.878 --> 42:15.148
Dulcinea smelling of garlic,
which I will mention again.

42:15.150 --> 42:21.860
But there is also the issue of
Dulcinea's bodily hair,

42:21.860 --> 42:29.460
specifically in Don Quixote's
interpretation Dulcinea's pubic

42:29.460 --> 42:30.600
hair.

42:30.599 --> 42:44.539
If we go to page 530,531,
Sancho is talking and he says:

42:44.539 --> 42:51.009
"...by which we might have
guessed at what was hid beneath

42:51.014 --> 42:56.244
that coarse disguise [he's
talking about her body]:

42:56.235 --> 42:58.465
though,
to say the truth,

42:58.471 --> 43:01.301
to me she did not appear in the
least deformed,

43:01.300 --> 43:04.970
but rather all beauty,
and that increased too by a

43:04.969 --> 43:09.039
mole she had on her right lip,
like a whisker,

43:09.041 --> 43:12.671
with seven or eight hairs on
it,

43:12.670 --> 43:16.770
like threads of gold,
and above a span long [long

43:16.771 --> 43:17.541
hairs].

43:17.539 --> 43:21.959
'As to that mole' [this is the
pedantic answer by Don Quixote]

43:21.958 --> 43:25.428
'according to the
correspondence there is between

43:25.434 --> 43:30.004
the moles of the face and those
of the body Dulcinea should have

43:29.996 --> 43:33.976
another on the brawn of her
thigh [the inner part of her

43:33.981 --> 43:38.681
thigh],
on the same side with that on

43:38.684 --> 43:41.954
her face,
but hairs of the length you

43:41.951 --> 43:45.511
mentioned are somewhat of the
longest for moles.'

43:45.510 --> 43:47.910
'Yes I can assure your
worship,' answered Sancho,

43:47.909 --> 43:50.509
'that there they were,
and looked as if they had been

43:50.510 --> 43:51.460
born with her.'

43:51.460 --> 43:54.480
'I believe it,
friend,' said Don Quixote,

43:54.478 --> 43:58.698
'for nature has placed nothing
about Dulcinea but what is

43:58.702 --> 44:01.802
finished and perfect;
and therefore,

44:01.795 --> 44:05.925
had she a hundred moles,
like those you speak of,

44:05.934 --> 44:10.764
in her they would not be moles,
but moons and resplendent

44:10.762 --> 44:15.702
stars.'"
The description is remindful,

44:15.697 --> 44:22.057
of course, of Maritornes,
but there is something specific

44:22.063 --> 44:25.023
about a hairy Dulcinea.

44:25.018 --> 44:28.198
Bodily hair,
a lot of hair,

44:28.199 --> 44:35.169
was taken then as an indication
of a heightened sexuality,

44:35.172 --> 44:38.722
of a strong sexual drive.

44:38.719 --> 44:41.569
This and other hints,
there will be other hints,

44:41.570 --> 44:44.750
and there have been others--you
can look them up in my book,

44:44.750 --> 44:46.100
Love and the Law in
Cervantes--

44:46.099 --> 44:49.819
of bodily hair on Dulcinea and
other women,

44:49.820 --> 44:53.020
moustaches and so forth.

44:53.018 --> 44:55.048
Look for them now,
as you read the book and

44:55.050 --> 44:57.660
believe me, they are there,
I haven't invented them.

44:57.659 --> 45:03.359
These and other hints reveal a
story behind the story here that

45:03.358 --> 45:05.748
I have hinted at before.

45:05.750 --> 45:10.230
What lurks beneath Don
Quixote's courtly love style for

45:10.233 --> 45:15.553
Dulcinea is the sexual desire of
an aristocrat for a peasant lass

45:15.547 --> 45:18.867
presumed to be of ardent
sexuality,

45:18.869 --> 45:23.859
who promises to provide more
pleasure than the women of his

45:23.860 --> 45:24.550
class.

45:24.550 --> 45:28.940
There is a literary tradition
behind this that reaches back to

45:28.943 --> 45:32.623
the Spanish ballads,
but that is also quite alive in

45:32.619 --> 45:34.059
Cervantes' time.

45:34.059 --> 45:38.059
At least two of Don Juan's
conquests--

45:38.059 --> 45:40.999
you know who Don Juan is the
figure of Don Juan,

45:41.000 --> 45:44.610
the womanizer and so forth,
who first appeared in Tirso de

45:44.606 --> 45:45.616
Molina's play.

45:45.619 --> 45:48.789
I have mentioned the fact that
the Don Juan figure is one of

45:48.788 --> 45:51.798
the figures created in the
Spanish Golden age by Tirso de

45:51.795 --> 45:54.235
Molina,
I better put his name on, too.

45:54.239 --> 45:59.849
He is the inventor of the Don
Juan figure,

45:59.849 --> 46:07.329
a great legacy then,
in literature and music and so

46:07.333 --> 46:10.013
forth--
At least two of Don Juan's

46:10.012 --> 46:11.962
conquests in Tirso de Molina's
play,

46:11.960 --> 46:14.860
The Trickster of Seville
are from the lower classes,

46:14.860 --> 46:17.000
one a peasant and the other a
fisher woman.

46:17.000 --> 46:22.630
The Dulcinea in this scene also
underscores her physical prowess

46:22.625 --> 46:25.835
by the way she mounts her
donkey,

46:25.840 --> 46:31.510
by taking a little run back to
get some momentum,

46:31.510 --> 46:34.300
and leaping on it from behind
and riding it astride,

46:34.300 --> 46:35.720
like a man.

46:35.719 --> 46:39.099
It's a very sexual and vulgar
gesture that she makes that I

46:39.099 --> 46:42.059
find absolutely hilarious,
and then when Sancho says,

46:42.057 --> 46:43.647
"my God,
she's quite a horseman,

46:43.646 --> 46:45.806
she could teach a Cordovan or a
Mexican to ride a horse,

46:45.809 --> 46:49.999
the way she leaps on it,"
and she just goes on.

46:50.000 --> 46:55.850
Also by her smell of raw
garlic, which Jarvis translates

46:55.851 --> 47:01.811
as 'undigested garlic,' which
reveals her coarseness,

47:01.809 --> 47:07.409
and also her proximity to food:
food and sex go together.

47:07.409 --> 47:09.889
Now, I know,
that, of course,

47:09.893 --> 47:14.863
garlic doesn't sound very sexy
to anybody anymore or ever

47:14.860 --> 47:18.410
perhaps, but this is the
intimation.

47:18.409 --> 47:22.009
The whole transformation of
Dulcinea will leave a deep

47:22.005 --> 47:24.445
imprint in the knight's
subconscious,

47:24.447 --> 47:28.177
as we shall see in the episode
of Montesinos' cave.

47:28.179 --> 47:33.609
But now Don Quixote and Sancho
are about to meet theater on the

47:33.608 --> 47:36.138
road,
this road that in Part II

47:36.135 --> 47:39.315
appears to be full,
not of real characters,

47:39.324 --> 47:43.434
as of characters and objects
playing roles or disguised as

47:43.425 --> 47:46.515
something else other than what
they are.

47:46.518 --> 47:50.968
So they meet now,
the cart of the parliament of

47:50.969 --> 47:54.049
death,
which is a cart carrying actors

47:54.045 --> 47:58.025
who have finished putting on a
play in one town and go to

47:58.027 --> 48:01.227
another nearby to repeat the
performance,

48:01.230 --> 48:04.690
hence, they have not changed
out of their costumes.

48:04.690 --> 48:08.370
The play that they stage is a
kind that you have already met

48:11.871 --> 48:13.121
Marcela episode.

48:17.041 --> 48:19.681
write the autos
sacramentales.

48:19.679 --> 48:42.909
These are the religious plays
performed on the day of Corpus

48:42.909 --> 48:49.099
Christi,
the feast in honor of the

48:49.097 --> 48:53.027
Eucharist or communion
celebrated on a Thursday on the

48:53.034 --> 48:55.194
sixtieth day after Easter.

48:55.190 --> 49:03.120
Therefore, it's coherent with
the chronology of the novel,

49:03.119 --> 49:07.689
it's taking place in summer so
Corpus Christi,

49:07.690 --> 49:14.360
communion, the Eucharist,
is celebrated in this feast

49:14.355 --> 49:17.905
every year,
and part of the feast was the

49:17.909 --> 49:22.499
performance of this place,
which always deal with the

49:22.500 --> 49:28.180
topic of the Eucharist,
the mystery of the Eucharist,

49:28.181 --> 49:32.791
the transformation of Christ's
body into blood,

49:32.786 --> 49:35.486
and into wine and bread.

49:35.489 --> 49:39.759
They usually have plots drawn
from scripture,

49:39.760 --> 49:44.420
but also plots drawn from
classical mythology.

49:44.420 --> 49:47.480
These autos were a
medieval retention in every

49:47.480 --> 49:49.870
sense,
and now think about what I said

49:49.873 --> 49:52.883
about the Baroque going back to
the Middle Ages,

49:52.880 --> 49:55.620
jumping over,
back over the Renaissance,

49:55.619 --> 49:59.049
this is a medieval retention,
the auto sacramental.

49:59.050 --> 50:02.130
They were one-act plays
performed on carts,

50:02.130 --> 50:03.010
precisely.

50:03.010 --> 50:07.270
They are carrying themselves on
the cart and they are also

50:07.271 --> 50:09.201
carrying,
with the cart,

50:09.197 --> 50:14.037
the stage, because the way that
these autos were performed were,

50:14.039 --> 50:21.369
if you have a town square,
let's say the church is here,

50:21.369 --> 50:27.909
the other buildings and so
forth, the carts were put,

50:27.909 --> 50:32.689
one--if there were two or
three--one for each scene,

50:32.690 --> 50:36.540
and then the people would be
here, and the performance took

50:36.539 --> 50:44.569
place on the carts,
and elaborate props and scenery

50:44.567 --> 50:53.217
were created on the carts,
because these plays represented

50:53.222 --> 50:56.802
cosmic events of the world,
I mean the universe,

50:56.800 --> 50:59.120
the stars, and so forth,
would appear,

50:59.117 --> 51:01.977
and then when the play was
finished--

51:01.980 --> 51:04.490
this was a very modest play
with only one cart--

51:04.489 --> 51:06.679
the cart would move on to the
next town.

51:06.679 --> 51:10.089
So they were carrying with them
their stage, not only

51:10.092 --> 51:12.392
themselves, but also their
stage.

51:12.389 --> 51:17.399
They were simple enough so that
all of the people could

51:17.398 --> 51:20.738
understand them,
but sophisticated in

51:20.737 --> 51:24.167
versification,
imagery and theological

51:24.170 --> 51:25.470
content.

51:29.259 --> 51:33.029
autos sacramentales,
but many other poets and

51:33.032 --> 51:36.062
playwrights wrote them,
including Lope de Vega,

51:36.056 --> 51:39.096
who was the author of the one
mentioned in this episode,

51:39.099 --> 51:44.109
Las cortes de la Muerte,
which is a real one-act play by

51:44.108 --> 51:49.038
Lope de Vega translated here as
The Courts or Parliament of

51:49.038 --> 51:50.168
Death.

51:50.170 --> 51:53.300
In the play,
Man, with a capital M--

51:53.300 --> 51:55.340
remember it is an allegorical
play--

51:55.340 --> 52:00.970
is subjected to a trial after
having been tempted by the

52:00.967 --> 52:03.437
devil--
this is where the devil appears

52:03.440 --> 52:03.740
here.

52:03.739 --> 52:08.349
Another figure is that of
Madness, represented by the

52:08.347 --> 52:13.397
actor who spooks Rocinante with
his bells and bladders.

52:13.400 --> 52:16.350
Remember, this one who comes
after they have had their

52:16.351 --> 52:19.411
dialogue,
and he has a stick with--they

52:19.407 --> 52:24.587
didn't have balloons because,
of course, there was no plastic

52:24.588 --> 52:26.978
to make them,
so they made these balloons out

52:26.976 --> 52:28.236
of the bladders of slain
animals,

52:28.239 --> 52:33.269
so bladders and bells,
and he plays Madness.

52:37.652 --> 52:41.412
called The Great Theater of
the World,

52:41.409 --> 52:46.139
whose theme was that of the
world as a stage where man

52:46.141 --> 52:49.281
performs life,
as if it were a play,

52:49.279 --> 52:53.669
before going on to the real
life after death at the end of

52:53.673 --> 52:54.603
the play.

52:54.599 --> 52:58.789
The one performed by these
players in this episode of

52:58.788 --> 53:01.708
the Quixote,
who, by the way,

53:01.708 --> 53:04.868
were a real company of actors
of the time,

53:04.869 --> 53:09.479
is very much along the lines of
The Great Theater of the

53:09.480 --> 53:14.330
World, but the conceit here
is that of a trial for man.

53:14.329 --> 53:18.489
So this is what it is in the
background of this scene.

53:18.489 --> 53:23.789
So theatricality is an
important element in Part II

53:23.786 --> 53:29.106
because of what I mentioned,
theatricality is part of the

53:32.889 --> 53:35.729
but it's also--you will also
find it at the inn,

53:38.679 --> 53:45.419
Death, who appears here as part
of the ensemble of actors--

53:45.420 --> 53:47.450
because Death was an
allegorical figure that appeared

53:47.449 --> 53:50.989
in this--
is also important in Part II,

53:50.985 --> 53:57.095
and it is a medieval retention,
so is the devil.

53:57.099 --> 54:00.259
Everyone here is in costume,
including, of course,

54:00.257 --> 54:01.157
Don Quixote.

54:01.159 --> 54:05.309
Reality is all ready play,
illusion;

54:05.309 --> 54:08.129
there is no need for Don
Quixote to misinterpret it.

54:08.130 --> 54:12.080
But notice the subtlety that
the plays then assume their

54:12.076 --> 54:13.436
roles in reality.

54:13.440 --> 54:18.860
The Madness begins to play
Madness in the reality of Don

54:18.855 --> 54:19.835
Quixote.

54:19.840 --> 54:27.770
The devil plays a trick on
Sancho, and the presence of

54:27.771 --> 54:30.881
death,
even in allegorical dress is

54:30.880 --> 54:34.640
frightening,
and reality is buried beneath a

54:34.643 --> 54:38.553
layer of various forms of
representation.

54:38.550 --> 54:41.590
A man dressed as a literary
character meets men and women

54:41.588 --> 54:43.378
dressed as literary characters.

54:43.380 --> 54:48.500
The devil who steals Sancho's
donkey parodies Don Quixote and

54:48.500 --> 54:50.720
his fall from Rocinante.

54:50.719 --> 54:54.569
Here is a madman facing an
actor playing the role of

54:54.570 --> 54:59.030
madness, as if reality were
offering Don Quixote a mirror of

54:59.025 --> 55:00.985
his own deranged self.

55:00.989 --> 55:04.459
This is something that will
happen over and again in Part

55:04.458 --> 55:07.368
II,
and we will find another

55:07.371 --> 55:11.231
example very soon,
when Don Quixote meets the

55:11.230 --> 55:12.770
Knight of the Mirrors.

55:12.768 --> 55:15.878
Life is play acting,
as Don Quixote says,

55:15.876 --> 55:19.446
using a word that you are now
familiar with.

55:19.449 --> 55:22.989
He says: "Y ahora digo
que es menester tocar las

55:22.985 --> 55:25.555
apariencias con la mano para dar
lugar al

55:27.550 --> 55:29.320
That's what is says in the
original.

55:29.320 --> 55:31.090
And Jarvis does reasonably well.

55:31.090 --> 55:34.340
He says: "And I say now
that it is absolutely necessary

55:34.342 --> 55:36.772
[says Don Quixote]
if one would be undeceived

55:39.306 --> 55:42.556
appearances [to see that they
are appearances]."

55:42.559 --> 55:45.119
Cervantes, by the way,
is punning here,

55:45.121 --> 55:48.361
because in the Spanish of the
seventeenth century

55:48.358 --> 55:51.728
'apariencias' also meant
'stage props.'

55:55.938 --> 55:59.528
to make the stage he called
those "Memoria de

55:59.525 --> 56:03.385
apariencias,"
apariencias were stage props.

56:03.389 --> 56:07.689
So by this pun Cervantes is
underlining the theatrical

56:07.693 --> 56:11.513
quality of this episode and of
the quote unquote

56:11.510 --> 56:13.460
"reality."

56:13.460 --> 56:18.050
Two things important to remark
and remember for this scene is

56:18.047 --> 56:21.867
that Don Quixote meets an image
of his madness,

56:21.869 --> 56:25.039
something that will happen
throughout Part II,

56:25.039 --> 56:28.799
and it is kind of a point of
madness,

56:28.800 --> 56:32.080
where madness reflects madness,
nadness for us,

56:32.079 --> 56:33.109
as readers, too.

56:33.110 --> 56:36.180
And also, we must remember the
presence of death,

56:36.177 --> 56:39.817
which is a warning against the
deceits offered by life.

56:39.820 --> 56:44.430
Death devalues all of the
allures of life with its

56:44.427 --> 56:49.787
presence, and we have met it
before in El Toboso when they

56:49.786 --> 56:52.416
bump against the church.

56:52.420 --> 56:58.390
Finally, the loop of the story
here,

56:58.389 --> 57:01.609
of this little story,
of this episode goes from

57:05.780 --> 57:09.830
If Micomicona and the process
by which her story was concocted

57:09.829 --> 57:12.949
was like a representation of
representation,

57:12.949 --> 57:17.219
the episode of the cart of the
parliament of death is

57:17.219 --> 57:23.529
representation in motion,
or actually representation even

57:23.532 --> 57:26.902
on wheels, one could say.

57:26.900 --> 57:31.230
I want to close by reading you
a little vignette that I wrote,

57:31.233 --> 57:33.583
as an epilogue to this episode.

57:33.579 --> 57:38.659
I've told you that professors
and critics can hardly resist

57:38.661 --> 57:43.921
the temptation of crossing the
line and becoming writers,

57:43.920 --> 57:49.660
and this is my very modest
falling into that trap.

57:49.659 --> 57:53.379
It goes like this,
it's very brief and very silly

57:53.380 --> 57:57.100
now as I reread it,
but I think that it will give

57:57.101 --> 57:59.751
you a laugh:
"Satisfied,

57:59.746 --> 58:04.296
after recovering Sancho's
donkey from the wild devil who

58:04.304 --> 58:09.364
had stolen it in jest to mock
Don Quixote our pair got back on

58:09.362 --> 58:13.012
the road on their journey to
Saragossa.

58:13.010 --> 58:16.580
They had not traveled very much
when they saw in the distance a

58:16.579 --> 58:19.839
cloud of dust,
picked up by what seemed like a

58:19.844 --> 58:24.014
large contingent of horsemen,
only that from afar their

58:24.014 --> 58:29.384
mounts looked enormous,
fit more for giants than for

58:29.378 --> 58:29.998
men.

58:30.000 --> 58:34.230
They brought Rocinante and the
donkey to a halt,

58:34.230 --> 58:37.380
shaded their eyes with their
hands and peered into the

58:37.376 --> 58:40.786
approaching murky mass,
unable to discern what it

58:40.788 --> 58:41.608
contained.

58:41.610 --> 58:44.700
As when he first saw the cart
with the players,

58:44.702 --> 58:47.732
Don Quixote was brimming with
anticipation.

58:47.730 --> 58:50.790
This had the makings of a
superb adventure fit for his new

58:50.793 --> 58:53.753
stature, as a knight whose
exploits had already been the

58:53.751 --> 58:54.881
object of a book.

58:54.880 --> 58:57.190
As the strange contingent drew
nearer,

58:57.190 --> 59:01.280
Don Quixote and Sancho were
astonished to discover that it

59:01.277 --> 59:05.507
consisted of a brightly dressed
man in Moorish dress sitting

59:05.510 --> 59:09.240
atop a huge camel and covered by
a green canopy.

59:09.239 --> 59:13.689
He was comfortably positioned
on a lavish saddle with his legs

59:13.690 --> 59:18.220
crossed, on which he cradled a
device that our heroes could not

59:18.215 --> 59:18.795
see.

59:18.800 --> 59:23.620
Behind him rode in a splendid
dromedary a younger man dressed

59:23.621 --> 59:25.391
as a morisco.

59:25.389 --> 59:29.209
He too was covered by a
parasol, yellow in his case,

59:29.210 --> 59:33.030
and was in a similar position
and cradling something in a

59:33.032 --> 59:35.972
fashion similar to the man on
the front,

59:35.969 --> 59:37.529
who was obviously his master.

59:37.530 --> 59:40.560
They were surrounded by a troop
of men on horses,

59:40.559 --> 59:42.769
well, armed and carrying
banners.

59:42.768 --> 59:47.338
Both parties stopped and gazed
at each other in wonder.

59:47.340 --> 59:49.870
Don Quixote was the first to
speak: 'My dear sir,

59:49.869 --> 59:52.769
would you please state your
name, nation and mission?

59:52.768 --> 59:55.468
as I suspect by your garb and
weapons that it could not be a

59:55.469 --> 59:57.939
good one, in which case,
I must challenge you to single

59:57.940 --> 59:58.490
combat.'

59:58.489 --> 1:00:01.119
The gentleman,
somewhat plump and placid in

1:00:01.121 --> 1:00:05.071
appearance did not look up from
the device on which he seemed to

1:00:05.067 --> 1:00:07.007
be tapping with both hands.

1:00:07.010 --> 1:00:10.740
At length, he lifted his head
and answered the knight in an

1:00:10.737 --> 1:00:14.717
incomprehensible gibberish that
the man behind on the dromedary

1:00:14.724 --> 1:00:18.654
interpreted nearly at once as
follows: 'My dear Don Quixote de

1:00:18.646 --> 1:00:22.116
la Mancha,
I am Cide Hamete Benengeli,

1:00:22.117 --> 1:00:25.637
author of your story and your
creator,

1:00:25.639 --> 1:00:29.529
and the man behind me is my
translator who is transcribing

1:00:29.534 --> 1:00:33.434
in Spanish what I write here in
this laptop in Arabic.'

1:00:33.429 --> 1:00:37.649
He said this without stopping
his typing, for had he done so,

1:00:37.650 --> 1:00:41.450
the whole scene would have
vanished without a trace.

1:00:41.449 --> 1:00:45.459
Don Quixote and Sancho were
speechless and motionless,

1:00:45.458 --> 1:00:47.348
and the tapping ceased.

1:00:47.349 --> 1:00:51.469
Silence fell over the baron
Castilian landscape;

1:00:51.469 --> 1:00:59.439
the novel had finally and truly
come to an end."

1:00:59.440 --> 1:01:02.070
Well, I have here a few notes
from your exams,

1:01:02.067 --> 1:01:04.517
of things that I found very
interesting.

1:01:04.518 --> 1:01:06.428
It's not everyone,
so don't be jealous if you're

1:01:06.427 --> 1:01:08.257
not mentioned,
you'll be mentioned in the next

1:01:08.255 --> 1:01:08.575
one.

1:01:08.579 --> 1:01:13.329
But Tony wrote about the lack
of introspection in the

1:01:13.333 --> 1:01:17.273
Quixote,
and that is true,

1:01:17.273 --> 1:01:22.563
but this will change in Part
II,

1:01:22.559 --> 1:01:24.989
and he also said that
"those who like the

1:01:24.994 --> 1:01:27.704
romances of chivalry are also
like Don Quixote,

1:01:27.699 --> 1:01:30.739
and in a way,
that is extends to us."

1:01:30.739 --> 1:01:32.869
That was very good.

1:01:32.869 --> 1:01:36.639
Kelsey, "being an author
and the danger of insanity"

1:01:36.643 --> 1:01:38.783
she writes,
which is true:

1:01:38.784 --> 1:01:42.884
being an author,
as you can see with my little

1:01:42.882 --> 1:01:47.252
attempt here,
carries the danger of insanity.

1:01:47.250 --> 1:01:51.650
And Sancho, she says "is
fat and short and therefore

1:01:51.650 --> 1:01:55.580
closer to the ground,"
I found that to be very

1:01:55.581 --> 1:01:56.841
interesting.

1:01:56.840 --> 1:02:00.850
Tara, "Don Quixote doubles
Cervantes,

1:02:00.849 --> 1:02:05.349
both are readers and authors of
chivalric romances,"

1:02:05.353 --> 1:02:08.413
it is true, so I found that to
be...

1:02:08.409 --> 1:02:11.829
Jasmmyn, this is in Spanish,
"doubles who are

1:02:11.829 --> 1:02:15.389
interlaced to complete,
as it were, the character of

1:02:15.389 --> 1:02:16.649
Don Quixote."

1:02:16.646 --> 1:02:19.086
That was very good,
I thought.

1:02:19.090 --> 1:02:24.030
Ariel found various frames in
Las Meninas,

1:02:24.030 --> 1:02:25.940
it's true, the frame of the
picture,

1:02:25.940 --> 1:02:27.800
the frame in the picture,
the frame of the door,

1:02:27.800 --> 1:02:29.900
there is repetition of frames.

1:02:29.900 --> 1:02:33.550
I found that to be a very,
very interesting insight.

1:02:33.550 --> 1:02:36.880
Elizabeth, "Cardenio makes
Don Quixote more believable as a

1:02:36.878 --> 1:02:40.048
character since someone else
exists who is like him."

1:02:40.050 --> 1:02:43.970
Toby, "in turning Don
Quixote's world into a world of

1:02:43.967 --> 1:02:48.157
dialogue he and Sancho both
changes it and preserves."

1:02:48.159 --> 1:02:52.279
So this is your own feedback
that I found very interesting.

1:02:52.280 --> 1:02:55.100
So I'll see you in the next
class or this Friday,

1:02:55.096 --> 1:02:58.026
I will be there,
should you want to come see me.

1:02:58.030 --> 1:03:00.980
A few of you have already come
and we have had very pleasant

1:03:00.980 --> 1:03:03.330
conversations,
and I am eager to receive you.

1:03:03.329 --> 1:03:08.999