WEBVTT

00:01.590 --> 00:05.260
Prof: I said at the
start of the last lecture that

00:05.258 --> 00:08.728
after the episodes that I will
be discussing then,

00:08.730 --> 00:14.270
the cave of Montesinos and
Master Peter's puppet show,

00:14.270 --> 00:17.560
three significant new
developments take place in

00:17.560 --> 00:20.500
the Quixote;
I want to go over them again.

00:20.500 --> 00:26.030
The first is that Don Quixote
will sometimes not be the center

00:26.033 --> 00:29.753
of the action,
which will focus instead on

00:29.752 --> 00:30.752
Sancho.

00:30.750 --> 00:34.930
The second is that both
protagonists become objects of

00:34.932 --> 00:39.352
amusement for aristocratic
frivolous characters that have

00:39.351 --> 00:43.771
read Part I and want them to
behave according to it.

00:43.770 --> 00:49.650
The third is that Don Quixote
and Sancho will be surrounded by

00:49.653 --> 00:53.033
many more characters than
before.

00:53.030 --> 00:56.850
The overarching theme of the
novel continues to be

01:01.597 --> 01:06.227
authors within the fiction,
which is highly theatrical,

01:06.227 --> 01:08.917
and the backstage of the
pranks,

01:08.920 --> 01:13.120
the stage machinery as it were,
is revealed to the reader,

01:13.120 --> 01:17.740
either during their performance
or right after.

01:17.739 --> 01:23.269
The episode of the enchanted
boat,

01:23.269 --> 01:29.629
of which I gave you an
illustration of which appears in

01:29.629 --> 01:35.679
the handout that I gave you,
was needed to get our

01:35.682 --> 01:39.802
protagonists across the Ebro
river;

01:39.800 --> 01:46.370
and we're going to show a map
of Spain, although we have

01:46.367 --> 01:52.457
already shown you a map about
where this appears.

01:52.459 --> 02:00.139
We have to get them across Ebro
river--I forgot my pointer

02:00.141 --> 02:06.341
today--but you can see the Ebro
right there.

02:06.340 --> 02:15.840
In Part I, the territory that
Don Quixote and Sancho covered

02:15.842 --> 02:22.932
was not very specific in
geographic terms.

02:22.930 --> 02:27.880
Seville is mentioned as the
destination of the prostitutes

02:27.882 --> 02:33.152
at the first inn,
and also it is mentioned as the

02:38.720 --> 02:43.870
The Sierra Morena is the
setting for Don Quixote's

02:43.873 --> 02:50.083
penance, and the place where
Cardenio is hiding in shame and

02:50.080 --> 02:51.660
in madness.

02:51.660 --> 02:56.840
This relative vagueness is
consistent with the narrator's

02:56.837 --> 03:02.477
refusal to mention the village
where Alonso Quijano lives,

03:02.479 --> 03:06.569
and to which Don Quixote
returns.

03:06.568 --> 03:11.198
Now, however,
in Part II, geography becomes

03:11.195 --> 03:16.535
much more precise,
starting with El Toboso,

03:16.538 --> 03:22.098
our protagonist's first stop,
which is a real village in

03:22.096 --> 03:25.006
Castile,
and continuing with their

03:25.006 --> 03:29.356
original destination,
Saragossa, where Don Quixote

03:29.360 --> 03:33.150
wants to participate in jousts
celebrated on St.

03:33.154 --> 03:35.744
George's Day--April
twenty-third,

03:35.736 --> 03:40.496
and we talked about that in one
of my earlier classes.

03:40.500 --> 03:45.520
A stream figures in the episode
of the fulling hammers,

03:45.520 --> 03:50.820
but now Don Quixote and Sancho
on their way to Saragossa have

03:50.815 --> 03:55.415
to get across the Ebro,
one of the major rivers of

03:55.418 --> 03:56.038
Spain.

03:56.038 --> 04:00.968
We can see another image
of--there you are--of the Ebro.

04:00.968 --> 04:05.468
I highlight this because,
of course,

04:05.468 --> 04:09.758
Castile is not only landlocked,
but there is very little water

04:09.764 --> 04:14.434
in Castile,
and this is reflected in the

04:14.429 --> 04:20.079
novel where it only rains once
in Part I,

04:20.079 --> 04:25.349
there is that stream where the
fulling hammers appear,

04:25.350 --> 04:28.120
but on the whole there is very
little water.

04:28.120 --> 04:42.940
I'm going to turn the lights
back on.

04:42.940 --> 04:49.150
So the second part adds
geographic concreteness to its

04:49.154 --> 04:53.614
realistic portrayal of Spanish
life.

04:53.610 --> 04:57.320
This is not new with Cervantes.

04:57.319 --> 05:00.749
This he derives from the
picaresque.

05:00.750 --> 05:04.660
In Lazarillo de Tormes,
Tormes is a river;

05:04.660 --> 05:08.250
it's the river that goes
through Salamanca,

05:08.249 --> 05:10.129
as a matter of fact.

05:13.838 --> 05:21.638
the geography is quite precise,
both in Spain and in Italy,

05:26.209 --> 05:32.009
So Cervantes has derived this
concreteness from the

05:32.005 --> 05:37.055
picaresque,
but the episode of the

05:37.057 --> 05:43.597
enchanted boat also serves to
highlight--

05:43.600 --> 05:48.340
comically, of course--the
difference between Don Quixote's

05:48.341 --> 05:53.421
obsolete Ptolemaic notions of
geography and the new Copernican

05:53.416 --> 05:58.886
conception of the universe,
which is being expanded both as

05:58.889 --> 06:04.239
knowledge and as a field of
knowledge as Cervantes writes.

06:04.240 --> 06:10.010
What I mean by that is the
Copernican universe is infinite,

06:10.014 --> 06:13.604
the Ptolemaic universe is
limited.

06:13.600 --> 06:20.950
Now, this--Galileo was making
important discoveries in favor

06:20.949 --> 06:27.799
of Copernicanism in the early
decades of the seventeenth

06:27.800 --> 06:31.360
century--
he was in Spain for a

06:31.358 --> 06:36.068
while--and developing
instruments of observation,

06:36.069 --> 06:37.709
like the telescope.

06:37.709 --> 06:43.139
But Don Quixote still adheres
to Ptolemaic ideas and

06:43.144 --> 06:46.414
calculations,
as he demonstrates in his

06:46.406 --> 06:50.606
hilarious exchange with Sancho,
when he asks his squire to

06:50.608 --> 06:53.828
check if he has any lice on his
body,

06:53.829 --> 06:59.509
because it was common lore that
upon crossing the equator all

06:59.509 --> 07:04.769
such vermin would perish,
as if by magic.

07:04.769 --> 07:10.079
Sancho discovers that his flees
or lice are still very much

07:10.081 --> 07:15.671
alive, and he underscores the
plural when saying that he has a

07:15.666 --> 07:16.396
few.

07:16.399 --> 07:19.989
Like chivalry,
Ptolemaic geography is a

07:19.985 --> 07:25.555
medieval retention struggling to
survive in a world in which

07:25.555 --> 07:30.555
after the discovery and
settlement of the New World it

07:30.557 --> 07:34.777
was wholly untenable,
except to the likes of Don

07:34.783 --> 07:37.893
Quixote or to Sancho,
who doesn't care either way.

07:37.889 --> 07:41.069
It doesn't make any difference
to Sancho, of course.

07:41.069 --> 07:45.809
The crossing of the river is
significant also because our

07:45.810 --> 07:50.130
characters are moving beyond
landlocked Castile,

07:50.129 --> 07:55.069
toward coastal regions of Spain
that are in touch with other

07:55.065 --> 08:00.815
cultures and languages,
and in this second part we will

08:00.819 --> 08:06.709
reach such areas Barcelona where
Catalan is spoke.

08:06.709 --> 08:12.249
The episode is a rewriting,
since we're talking always

08:12.247 --> 08:18.727
about these episodes of Part II
being rewritings of episodes of

08:18.726 --> 08:21.506
Part I,
this episode to me is a

08:21.507 --> 08:24.627
rewriting of the windmills
episode in Part I,

08:24.629 --> 08:29.869
because of the wheels in the
river,

08:29.870 --> 08:34.780
with similar results,
except that Don Quixote and

08:34.775 --> 08:38.315
Sancho have,
again, to make restitutions for

08:38.321 --> 08:41.431
damages,
and as all crossings,

08:41.428 --> 08:45.408
this crossings also a
transition.

08:45.408 --> 08:51.418
Now, I have given you a handout
with the scene of Don Quixote's

08:51.418 --> 08:57.038
exchange with Sancho on the
issue of the distance they have

08:57.042 --> 09:01.562
traveled in--
and as this exchange appears in

09:01.558 --> 09:07.268
various English translations,
so that we can be amused by the

09:07.269 --> 09:12.579
efforts that the translators
make to render it into English

09:12.580 --> 09:18.480
the puns that are involved,
which are a little bit obscene

09:18.476 --> 09:21.586
in the Spanish,
if you have your handout,

09:21.585 --> 09:22.845
if not, I have copies.

09:22.850 --> 09:25.330
Does anybody need one?

09:25.330 --> 09:32.760
After Sancho wonders how much
they have traveled,

09:36.442 --> 09:39.092
Don Quijote,
'porque de trescientos sesenta

09:53.038 --> 09:57.138
'Por Dios' dijo Sancho,
'que vuesa merced me trae por

09:57.142 --> 10:00.852
testigo de lo que dice a una
gentil persona,

10:09.798 --> 10:14.608
class the ugly word in Spanish
to say to urinate is

10:14.605 --> 10:19.215
"mear,"
equivalent in English of

10:19.220 --> 10:22.200
"to piss,"
and,

10:22.200 --> 10:25.020
of course, in the word,
in Ptolemy,

10:25.019 --> 10:26.989
in Spanish,
"Ptolomeo,"

10:26.993 --> 10:30.573
there seems to be included the
first person singular of the

10:30.571 --> 10:33.411
indicative of the word
"mear,"

10:33.408 --> 10:36.738
"yo meo,"
this is what Sancho hears in

10:36.739 --> 10:39.419
Ptolomeo's name;
And "c&oacut

10:39.423 --> 10:41.413
e;mputo,"
computation,

10:41.408 --> 10:44.728
of course, to him what he hears
is "puto,"

10:44.726 --> 10:47.526
which is the masculine of
"puta,"

10:47.529 --> 10:49.989
which is whore and it means
homosexual.

10:49.990 --> 10:56.580
So what Don Quixote has told
him lacks all authority;

10:56.580 --> 11:02.600
is what he's saying when his
authorities have to do with a

11:02.600 --> 11:08.410
person who is a homosexual and
someone how pisses a lot,

11:08.408 --> 11:11.998
and this is what Sancho hears.

11:12.000 --> 11:20.990
The efforts by our translator,
by Jarvis,

11:20.990 --> 11:23.630
is not very good:
"'By the lord,' quoth

11:23.634 --> 11:26.254
Sancho,
'your worship has brought a

11:26.251 --> 11:29.341
very pretty fellow,
that same Tolmy [how d'you call

11:29.344 --> 11:30.984
him?]
with his amputation to vouch

11:30.977 --> 11:32.807
the truth of what you
say.'"

11:32.808 --> 11:35.158
He's trying to get
"computation"

11:35.158 --> 11:38.078
and "amputation"
to try to get the pun;

11:38.080 --> 11:40.530
it's not very funny.

11:40.529 --> 11:42.979
It's not very good.

11:42.980 --> 11:45.770
Smollett, in the same
eighteenth century tries to get:

11:45.773 --> 11:48.933
"'For God!' cried Sancho,
your worship has brought a set

11:48.934 --> 11:51.944
of rare witnesses to prove the
truth of what you say.

11:51.940 --> 11:54.730
Copulation and Kiss-me-Gaffer,
with the addition of

11:54.734 --> 11:56.974
Tool-i'-me, or some such
name.'"

11:56.970 --> 12:01.060
This is actually better,
because it catches the spirit

12:01.062 --> 12:04.462
of the obscenity of what Sancho
is saying.

12:04.460 --> 12:09.810
Our own Rutherford,
from Oxford University:

12:09.812 --> 12:15.582
"'Good God,' said Sancho,
'that's a fine character you've

12:15.580 --> 12:18.340
dredged up as a witness,
with his sexy butts and his

12:18.341 --> 12:20.161
tomfoolery,
and what's more a great

12:20.158 --> 12:22.118
pornographer,
or whatever it was you

12:22.118 --> 12:26.828
said.'"
These are all efforts.

12:26.830 --> 12:29.520
The point is that,
of course, Cervantes is making

12:29.523 --> 12:31.603
fun of the whole Ptolemaic
system,

12:31.600 --> 12:35.740
which by this time is obsolete,
but Don Quixote,

12:35.740 --> 12:39.710
of course, is invoking it,
as his authority to tell where

12:39.706 --> 12:43.386
it is that they're going as they
ride on the boat.

12:43.389 --> 12:49.009
You can amuse yourselves in
trying your hand at translating

12:49.005 --> 12:51.325
that pun, if you want.

12:51.330 --> 12:56.410
Now, when Don Quixote and
Sancho arrive at the house of

12:56.408 --> 13:02.138
the duke and duchess they enter
a realm of games and frivolity

13:02.144 --> 13:05.534
that they have not known before.

13:05.528 --> 13:11.198
These are irresponsible
aristocrats that belong to the

13:11.197 --> 13:15.347
leisure class;
in fact, the house in which the

13:15.350 --> 13:19.290
action takes place is not even
their regular house,

13:19.287 --> 13:22.277
it is a summer home for
recreation.

13:22.278 --> 13:26.958
Don Quixote first meets the
Duchess, who his out falcon

13:26.964 --> 13:32.174
hunting, all decked out for the
occasion and surrounded by an

13:32.168 --> 13:33.988
entourage.

13:33.990 --> 13:38.870
This business of hunting with
falcons was very ceremonial,

13:38.870 --> 13:42.350
people just went out with
servants,

13:42.350 --> 13:45.850
and so forth,
and the falcons,

13:45.850 --> 13:50.600
the hawks,
were trained to catch the prey,

13:50.601 --> 13:52.041
and so forth.

13:52.038 --> 13:55.268
There wasn't much real exercise
involved, I think,

13:55.274 --> 13:58.974
as the hawks did all of the
work, but this is part of the

13:58.971 --> 14:01.351
recreation of these aristocrats.

14:01.350 --> 14:06.110
The duke and duchess are
devoted to pleasure,

14:06.107 --> 14:12.267
one of which is obviously
reading, for they know Part I of

14:12.272 --> 14:15.952
the Quixote quite well.

14:15.950 --> 14:19.520
They are idle readers,
like the one Cervantes

14:19.517 --> 14:22.757
addressed at the beginning of
Part I,

14:22.759 --> 14:24.809
and I underline
"idle"

14:24.807 --> 14:26.257
in this description.

14:26.259 --> 14:31.219
Don Quixote and Sancho are like
toys to the duke and duchess,

14:31.220 --> 14:36.120
or better, they are like
literary characters,

14:36.120 --> 14:38.760
which, in fact,
that's exactly what they are.

14:38.759 --> 14:44.019
Everything in their home--I
mean, Don Quixote and Sancho

14:44.024 --> 14:47.474
have sort of fallen on the
hands,

14:47.470 --> 14:50.140
of these people who are great
readers of Part I,

14:50.139 --> 14:52.909
and, wow!, here we have the
"real"

14:52.913 --> 14:55.593
quote/unquote,
Don Quixote and Sancho at our

14:55.590 --> 14:58.790
own home,
and so they try to make the

14:58.793 --> 14:59.953
best of it.

14:59.950 --> 15:04.990
Everything in the duke and
duchess's home is like fiction,

15:04.985 --> 15:08.955
except that fiction can be
harsh and cruel.

15:08.960 --> 15:14.720
What their fiction proves,
the truth of their fiction is

15:14.721 --> 15:18.281
that reality,
too, is like fiction,

15:18.284 --> 15:23.214
and that both reality and
fiction can hurt.

15:23.210 --> 15:27.270
Actually, what appears here is
that reality is always reality

15:27.269 --> 15:29.909
plus the props to create the
fiction;

15:29.908 --> 15:33.908
it's not reality by itself,
but reality improved by or

15:33.912 --> 15:35.652
changed by the props.

15:39.288 --> 15:45.248
Not only that being deluded can
be hurtful, and to be un-deluded

15:45.251 --> 15:49.891
also can be hurtful,
but that the physical process

15:49.889 --> 15:52.729
may indeed involve injury.

15:52.730 --> 15:55.710
Peter E. Russell,
a distinguished British

15:55.711 --> 15:58.691
hispanist says,
quote: "The duke and

15:58.692 --> 16:03.392
duchess are remarkably unfeeling
aristocratic pranksters.

16:03.389 --> 16:08.719
Some of their jokes involve
causing physical harm to their

16:08.715 --> 16:10.485
two guests."

16:10.490 --> 16:13.210
You will see that Don Quixote
is scratched by cats,

16:15.106 --> 16:17.656
the horse, is very dangerous,
and so forth.

16:17.658 --> 16:22.218
He adds, Russell:
"Social satire directed at

16:22.217 --> 16:27.917
various levels of society is
more prominent in these chapters

16:27.916 --> 16:31.806
than anywhere else in the
book."

16:31.808 --> 16:34.268
Now, this is true:
social satire is very,

16:34.274 --> 16:37.174
very important in these
chapters of the book.

16:37.168 --> 16:40.238
In addition,
and this is a detail that I

16:40.239 --> 16:43.859
hope you pick up when you get to
this part,

16:43.860 --> 16:48.550
if you haven't gotten there
yet, the duke and duchess's

16:48.553 --> 16:52.903
expensive pleasures are
underwritten by the peasant

16:57.769 --> 17:01.069
daughter,
which is the reason why no

17:01.072 --> 17:03.872
pressure is put on him by his
master.

17:03.870 --> 17:06.330
Remember, there is this
conflict, another one of these

17:06.332 --> 17:09.772
conflicts on young people,
this young man has promised to

17:12.690 --> 17:15.540
because he has impregnated her,
and so forth,

17:15.538 --> 17:18.678
and she complains that no
pressure is brought upon this

17:18.684 --> 17:22.774
young man because his father,
who is a poor peasant within

17:22.767 --> 17:26.487
the realm controlled by the duke
and duchess,

17:26.490 --> 17:30.920
lends them money,
lends them money at very

17:30.919 --> 17:34.879
opportune moments;
that is, when the duke and

17:34.878 --> 17:37.508
duchess are in dire economic
straits.

17:37.509 --> 17:41.079
This is a very significant
detail.

17:41.078 --> 17:46.918
These are not only idle upper
classes, but upper classes in

17:46.922 --> 17:51.962
hock, that finance their high
living with loans.

17:51.960 --> 17:58.830
Since you are readers of
Elliott's Imperial Spain,

17:58.828 --> 18:04.118
you will no doubt see that it
is easy to draw an analogy

18:04.117 --> 18:09.887
between the behavior of these
aristocrats and the policies of

18:09.887 --> 18:14.647
the Spanish crown,
which lives off the shipments

18:14.646 --> 18:19.476
of precious metals from the New
World and loans from the

18:19.478 --> 18:23.518
Fugger's,
the German bankers who finance

18:23.519 --> 18:28.829
the expensive pleasures of the
Hapsburgs at their court:

18:28.834 --> 18:33.664
the building of the palace,
or the Retiro that you may

18:33.661 --> 18:35.141
still see in Madrid.

18:42.011 --> 18:46.091
in these kinds of pleasures,
too.

18:46.088 --> 18:49.008
All of that,
or most of that,

18:49.006 --> 18:54.106
was underwritten by loans from
German bankers,

18:54.108 --> 19:00.648
so this is all part of the
political site of the 1615

19:00.646 --> 19:04.936
Quixote,
which I mentioned before,

19:04.944 --> 19:10.154
is the first political novel,
it's a social satire which may

19:10.154 --> 19:12.934
involve a political dimension.

19:12.930 --> 19:20.250
In this context,
Sancho's social aspirations do

19:20.247 --> 19:28.517
not appear that outlandish,
in the sense that Cervantes is

19:28.519 --> 19:35.639
showing that the social order
and its hierarchies is crumbling

19:35.637 --> 19:40.537
when the upper classes are so
corrupt,

19:40.538 --> 19:45.738
and as is evident in that a
peasant,

19:45.740 --> 19:49.350
a mere peasant is supporting
these aristocrats in their

19:49.349 --> 19:50.219
activities.

19:50.220 --> 19:55.790
So this is kind of a
topsy-turvy world,

19:55.788 --> 20:01.148
the social world which bespeaks
of erosion and of crumbling of

20:01.145 --> 20:05.035
this social order,
and what Cervantes is

20:05.038 --> 20:10.498
dramatizing here is that a new
order is in the making,

20:10.500 --> 20:14.370
in which class mobility may
very well be possible,

20:14.369 --> 20:16.439
class mobility up or down.

20:16.440 --> 20:21.910
We see characters,
like the steward,

20:21.910 --> 20:24.360
in this household of the duke
and duchess,

20:24.358 --> 20:28.238
who has enormous power over his
masters,

20:28.240 --> 20:33.090
and we see Sancho,
of course, elevated,

20:33.088 --> 20:36.828
even if it is fictional,
to governor of this island,

20:36.829 --> 20:38.299
finally.

20:38.298 --> 20:43.588
So the second part of the
Quixote reveals,

20:43.588 --> 20:48.938
as I say, a social order that
is not as stable as it used to

20:48.935 --> 20:52.345
be,
that is sort of shaking,

20:52.351 --> 20:56.541
and he is giving us very
precise--

20:56.538 --> 21:01.658
Cervantes is giving us--very
precise financial details about

21:01.655 --> 21:04.945
this,
through this satire.

21:04.950 --> 21:09.350
The kind of financial detail
that you expect to find only in

21:09.354 --> 21:13.284
nineteenth century novels,
such as Balzac's novel,

21:13.278 --> 21:17.738
in which, of course,
the financial dealings of the

21:17.743 --> 21:21.493
characters play a very important
role.

21:21.490 --> 21:24.080
But here, already,
in Cervantes,

21:24.083 --> 21:28.773
we have these details such as
the fact that the duke gets

21:28.767 --> 21:31.107
loans from this peasant.

21:31.108 --> 21:33.918
Fiction, as performed at the
duke's house,

21:33.922 --> 21:37.492
is mirthful and playful,
but also cruel and uncaring,

21:37.489 --> 21:38.449
as I said.

21:38.450 --> 21:43.590
Fiction is also ephemeral and
substantial, like the props that

21:43.593 --> 21:44.693
hold it up.

21:44.690 --> 21:48.830
With the duke and duchess,
Don Quixote and Sancho

21:48.833 --> 21:53.583
temporarily realize their
dreams: Don Quixote is treated

21:53.580 --> 21:58.190
like a great knight,
and Sancho is finally made

21:58.189 --> 22:02.829
governor of an island,
when Don Quixote enters into

22:02.834 --> 22:08.204
the duke's palatial summer home
they have prompted already their

22:08.198 --> 22:13.218
help so that they treat Don
Quixote as a great personage and

22:13.221 --> 22:17.651
have all kinds of things ready
for his comfort.

22:17.650 --> 22:24.470
But these fabrications quickly
disappear.

22:26.779 --> 22:30.279
the truth of fiction is that it
illuminates the fictional

22:30.276 --> 22:33.336
quality of real life,
or the ephemeral quality of

22:33.340 --> 22:34.570
real life if you want.

22:34.568 --> 22:45.018
An American hispanist,
Ruth El-Saffar--let me put her

22:45.021 --> 22:46.431
name.

22:46.430 --> 22:49.060
It's part of the name,
she was married to someone of

22:49.063 --> 22:49.893
Arabic origin.

22:49.890 --> 22:57.840
She died very young, tragically;
she was a Cervantes scholar.

22:57.838 --> 23:01.808
She writes, quote:
"All of Part II is based

23:01.806 --> 23:06.276
on the mistaken assumption on
the part of the would-be

23:06.278 --> 23:11.008
all-controlling character
authors that they can deal with

23:11.005 --> 23:14.545
a fictional character and
maintain,

23:14.548 --> 23:18.118
at the same time,
a distance, which allows them

23:18.115 --> 23:22.295
never to slip into that
fictional world with which they

23:22.300 --> 23:24.860
plan to entertain themselves.

23:29.030 --> 23:31.630
two directions,
they are controlled.

23:31.630 --> 23:34.350
to some extent,
from within their play by the

23:34.354 --> 23:37.454
very characters whom they intend
to manipulate,

23:37.450 --> 23:41.720
and from without by an author
of whom they are unaware,

23:41.720 --> 23:46.910
by whose will and whose hand
all they do is contrived."

23:46.910 --> 23:47.790
Unquote.

23:50.955 --> 23:53.545
this controlling author,
that he falls into his own

23:53.551 --> 23:54.021
trap.

23:54.019 --> 23:59.709
He loses to Don Quixote in this
encounter that they have,

23:59.710 --> 24:01.590
and we will see,
once and again,

24:01.594 --> 24:04.934
that the steward,
who is a very clever fellow and

24:04.928 --> 24:08.888
creates all of these elaborate
pranks does not succeed with

24:08.891 --> 24:09.781
him, okay?

24:09.778 --> 24:11.908
Eventually they come tumbling
down.

24:18.778 --> 24:21.478
as I said, and as we've seen
from the very beginning,

24:21.480 --> 24:26.930
bent on recreating the fiction
of Part I,

24:26.930 --> 24:29.720
but now the duke's house,
the duke's steward,

24:32.598 --> 24:37.168
He is the creator of elaborate
pranks,

24:37.170 --> 24:41.390
like the island where Sancho
will be governor,

24:41.390 --> 24:45.560
like the pageant in the forest,
about which I will speak very

24:45.563 --> 24:48.333
soon,
none of which turn out quite as

24:48.334 --> 24:52.344
he planned them,
and within which he gets caught.

24:52.338 --> 24:55.228
This steward,
by the way, if you think about

24:55.230 --> 24:59.750
the pageant in the forest,
was not only a clever in

24:59.750 --> 25:03.710
creating these pranks,
but he was also a poet,

25:03.711 --> 25:07.221
he must have written the lines
that Merlin delivers in this

25:07.223 --> 25:07.893
pageant.

25:07.890 --> 25:14.290
The significance of all of
this, apart from its baroque

25:14.288 --> 25:17.608
character,
is that Cervantes is

25:17.606 --> 25:21.176
speculating, as usual,
about his own position

25:23.480 --> 25:28.590
this fiction that seems to be
always getting away from him,

25:28.588 --> 25:32.888
and this is what the presence
of these internal authors,

25:32.890 --> 25:36.930
who are beset by these problems
of distance and control,

25:36.930 --> 25:43.300
reveals, which is the same kind
of situation in which Master

25:43.301 --> 25:49.781
Peter finds himself with his
puppet theater with catastrophic

25:49.782 --> 25:51.082
results.

25:51.078 --> 25:57.848
So, then, one of the early
events that occur at the duke

25:57.848 --> 26:03.078
and duchess's house is,
I'm sure you noticed,

26:03.084 --> 26:08.224
is the debate Don Quixote has
with the ecclesiastic.

26:08.220 --> 26:17.830
This is a criticism of the
church, not of religion,

26:17.828 --> 26:23.548
and may also be a commentary on
Spanish politics and the role

26:23.548 --> 26:27.838
that the clergy is allowed to
play in them.

26:27.838 --> 26:33.488
So we have, again,
another instance here of this

26:33.492 --> 26:40.592
social and political criticism
that appears in the novel.

26:40.588 --> 26:48.678
Don Quixote intimates that the
ecclesiastic is a leech living

26:48.678 --> 26:54.338
at the expense of the duke and
duchess,

26:54.338 --> 27:00.238
who in turn live off of the
rich peasant who gives them

27:00.236 --> 27:01.106
loans.

27:01.108 --> 27:06.428
Don Quixote also tells him that
he speaks without authority

27:06.426 --> 27:11.256
because he lacks experience,
and accuses him of acting

27:11.262 --> 27:15.892
aggressively because he is
protected by his investiture,

27:15.890 --> 27:20.420
meaning that Don Quixote cannot
challenge him to a fight because

27:20.421 --> 27:23.961
he is an ecclesiastic,
and therefore he takes

27:23.964 --> 27:28.334
advantage of that protection to
be able to act with this

27:28.328 --> 27:29.518
haughtiness.

27:29.519 --> 27:34.919
But notice that there is some
truth to what the ecclesiastic

27:34.917 --> 27:40.217
says to the duke and duchess
about how they're dealing with

27:40.223 --> 27:43.893
Don Quixote,
encouraging him to go on with

27:43.891 --> 27:46.951
his insanity about being a
knight-errant.

27:46.950 --> 27:51.640
There are no uniformly negative
characters in Cervantes,

27:51.641 --> 27:56.331
even this very unpleasant
priest is right in some of the

27:56.332 --> 27:58.382
things that he says.

27:58.380 --> 28:01.790
He ruins the whole dinner,
he's very unpleasant but he

28:01.786 --> 28:04.996
has--some of the things he
says--are quite true.

28:05.000 --> 28:07.770
Perspectivism,
as we have been seeing

28:07.770 --> 28:11.110
throughout the semester,
means that no one is in

28:11.109 --> 28:14.889
possession of the entire truth,
that is, the truth made up of

28:14.892 --> 28:18.092
the various points of view of
the characters,

28:18.088 --> 28:22.918
and that they truth may be
spoken by the most unlikely

28:22.917 --> 28:27.617
people,
even people who are not very

28:27.616 --> 28:28.966
pleasant.

28:28.970 --> 28:31.130
This is a constant in Cervantes.

28:31.130 --> 28:35.100
Notice that the debate with the
ecclesiastic is,

28:35.101 --> 28:38.821
in this case,
we could call it a pre-prandial

28:38.819 --> 28:42.049
speech;
it's a speech before dinner,

28:42.053 --> 28:44.853
which is ruined,
anyway, by this.

28:44.848 --> 28:48.278
And that it is,
again, another rewriting of the

28:48.284 --> 28:52.124
arms and letters speech,
because Don Quixote always

28:52.118 --> 28:54.918
seems to be able to get to that
topic,

28:54.920 --> 29:00.220
as he did at the house of Diego
de Miranda when he debated about

29:00.223 --> 29:03.933
the virtues of poetry and of the
military.

29:03.930 --> 29:11.270
Now, we move on now to episodes
that are quite independent,

29:11.265 --> 29:18.845
and that seem to build not on
Part I but on previous episodes

29:18.853 --> 29:20.753
of Part II.

29:20.750 --> 29:24.980
It's this fiction issuing from
fiction,

29:24.980 --> 29:28.490
it's like a telescope that
you're pulling out from within

29:28.488 --> 29:32.308
itself what is happening in
these episodes that follow now.

29:32.308 --> 29:34.168
Think of it as that,
a telescope,

29:34.170 --> 29:37.890
and as you pull it out you are
pulling things from within it,

29:37.890 --> 29:42.110
and that is the way that these
episodes that I'm going to

29:42.108 --> 29:44.518
discuss now appear in Part II.

29:44.519 --> 29:47.829
These are very important
episodes, not quite on the level

29:47.827 --> 29:51.887
of the cave of Montesinos,
but very important and very

29:51.891 --> 29:56.441
memorable episodes,
and that sort of make a

29:56.438 --> 30:02.038
coherent unit,
although there will be a return

30:02.038 --> 30:09.328
to the duke and duchess's house
when Don Quixote is on his way

30:09.334 --> 30:10.894
back home.

30:10.890 --> 30:16.390
So we begin by the episode of
the hunt, and we have here,

30:16.392 --> 30:21.012
again, this effect of the
receding sequences.

30:21.009 --> 30:27.989
The episode of the hunt and the
elaborate pageant in the forest

30:27.991 --> 30:33.061
are games within games,
plays within plays.

30:33.059 --> 30:37.569
What is the hunt?

30:37.569 --> 30:41.619
The hunt is a mock war.

30:41.618 --> 30:45.748
Aristocrats no longer
participate in wars,

30:45.747 --> 30:51.177
as we have been seeing all
along, so they now engage in

30:51.182 --> 30:55.112
mock wars, specifically in
hunting.

30:55.108 --> 31:00.718
We saw that both Don Quixote
and Don Diego de Miranda are

31:00.718 --> 31:01.718
hunters.

31:01.720 --> 31:06.860
The hunting of the boar
involves strategies that are

31:06.864 --> 31:12.994
akin to those of a battle,
demanding horsemanship as well

31:12.986 --> 31:18.736
as a playing of drums and
various horns and trumpets;

31:18.740 --> 31:25.240
much of the ceremonial aspects
of war are reproduced in

31:25.236 --> 31:26.436
hunting.

31:26.440 --> 31:33.540
War has become a sport,
and sports, modern sports,

31:33.538 --> 31:36.578
too, are mock wars.

31:36.578 --> 31:41.778
Think for a moment of American
football,

31:41.779 --> 31:45.839
which is--the metaphor of war,
is very crass in American

31:45.837 --> 31:49.897
football: I invade your
territory whereas the other team

31:49.896 --> 31:53.096
defends his territory,
and so there is a dividing

31:53.103 --> 31:56.003
line, which is like the frontier
between these two countries at

31:55.996 --> 31:59.786
war,
and all of the terminology is

31:59.787 --> 32:02.967
derived from the military.

32:02.970 --> 32:05.670
All of this what I call back
and forth sports,

32:05.670 --> 32:10.510
hockey, soccer,
football, lacrosse,

32:10.509 --> 32:12.749
are back and forth,
because you stand there and

32:12.746 --> 32:15.946
they go back and forth,
back and forth,

32:15.952 --> 32:19.842
are a crass metaphor for war.

32:19.838 --> 32:25.258
If a Martian got off his
spaceship and you took him to a

32:25.262 --> 32:29.492
football game,
the Martian would be able to

32:29.491 --> 32:33.141
understand very soon what is
going on,

32:33.140 --> 32:37.340
not so with baseball,
by the way, but in baseball the

32:37.336 --> 32:42.176
war metaphor is very elaborate:
you run around the bases in a

32:42.178 --> 32:46.408
circle to come back home,
like Ulysses, and all of that.

32:46.410 --> 32:52.330
Yes, yes, this is not just a
defense of baseball,

32:52.328 --> 32:55.028
because as you know I've
written quite a bit on baseball

32:55.034 --> 32:58.724
and played the game a lot,
but it is simply the truth.

32:58.720 --> 33:02.450
These other sports that I've
mentioned and hunting,

33:02.450 --> 33:05.510
of course, are crass metaphors
for war.

33:05.509 --> 33:08.869
In baseball,
the metaphor is more--it's

33:08.872 --> 33:12.592
baroque, actually,
it's that convoluted and

33:12.587 --> 33:13.647
distant.

33:13.650 --> 33:18.980
But the outcome,
of course, of sports contests

33:18.983 --> 33:23.493
are like wars,
I think it's tomorrow,

33:23.488 --> 33:27.148
the New York Yankees,
who have just won the World

33:27.146 --> 33:29.946
Series,
last night, are going to be

33:29.950 --> 33:33.490
paraded down the streets of New
York,

33:33.490 --> 33:37.000
with ticker tapes,
as if they had been returning

33:36.997 --> 33:41.397
heroes like those in Rome who
came back and built arches and

33:41.398 --> 33:42.368
so forth.

33:42.368 --> 33:46.308
So much for sports,
but I want to underline the

33:46.309 --> 33:51.359
fact that hunting has become a
sport, and this is what these

33:51.364 --> 33:54.024
aristocrats are engaged in.

33:54.019 --> 33:58.009
Sancho, of course,
runs up the tree scared by this

33:58.010 --> 34:03.140
boar which--these are dangerous
animals with the long tusks like

34:03.142 --> 34:05.262
this, and all of that.

34:05.259 --> 34:11.429
Now, as in Camacho's wedding,
notice the transition,

34:11.429 --> 34:16.679
the episode of the whole
pageant in the forest,

34:16.679 --> 34:20.649
begins with a killed animal,
as if a scapegoat were needed

34:20.648 --> 34:23.938
to start the action,
and also a scapegoat were

34:23.936 --> 34:25.416
needed for the feast.

34:25.420 --> 34:32.090
Feast ceremonies and parties
seem to demand a scapegoat of

34:32.094 --> 34:33.504
some sort.

34:33.500 --> 34:35.230
It doesn't have to be a goat,
of course,

34:35.230 --> 34:36.860
it can be a turkey,
at Thanksgiving,

34:36.860 --> 34:41.230
and so forth,
or it could be a pig in many

34:41.226 --> 34:45.296
celebrations,
but it seems to be an atavistic

34:45.297 --> 34:49.037
need of the human race to have
these scapegoats.

34:49.039 --> 34:54.549
There have been recent
instances in Spain,

34:54.550 --> 34:57.970
I have seen it discussed in the
newspapers,

34:57.969 --> 35:01.259
where new traditions of this
kind have emerged,

35:01.260 --> 35:03.200
and the towns have the practice
that when they have their big

35:03.204 --> 35:05.284
feast they take a goat up on the
church steeple and throw him off

35:05.277 --> 35:06.117
and kill him that way.

35:06.119 --> 35:15.969
Gross.

35:15.969 --> 35:19.419
But what I'm underlining is at
the beginning,

35:19.422 --> 35:23.582
the killing of this boar here
has sort of an atavistic

35:23.579 --> 35:25.619
ritualistic air to it.

35:25.619 --> 35:30.689
Now, this pageant in the forest
is one of the most baroque

35:30.688 --> 35:34.778
episodes in the whole of the
Quixote.

35:34.780 --> 35:40.380
The episode gathers elements of
the cave of Montesinos and the

35:40.378 --> 35:43.588
wagon of the parliament of
death;

35:43.590 --> 35:46.270
it is a kind of synthesis of
both.

35:46.268 --> 35:49.568
This is what I meant by
episodes that are derived from

35:49.574 --> 35:52.884
episodes like a telescope that
you open like that,

35:52.880 --> 36:01.050
but it also a version,
or more accurately,

36:01.050 --> 36:05.540
a perversion of a certain
moment in Dante's

36:05.543 --> 36:10.883
Purgatorio,
and I gave you a handout in the

36:10.882 --> 36:16.772
previous class with a fragment
of Purgatorio XXIX,

36:16.768 --> 36:23.738
because these episodes here,
as I will describe in some

36:23.739 --> 36:26.449
detail,
are a take of,

36:26.445 --> 36:32.005
a parody, of these episodes in
the Divine Comedy,

36:32.007 --> 36:33.117
no less.

36:33.119 --> 36:37.889
I told you that,
now, Cervantes' sources are not

36:37.889 --> 36:42.559
just the romances of chivalry
but Ovid, Virgil,

36:42.559 --> 36:44.589
Homer and Dante.

36:44.590 --> 36:48.390
Now, in Dante's Commedia
this is a moment of

36:48.393 --> 36:50.833
anagnorisis,
of discovery,

36:50.827 --> 36:53.717
of self discovery for the
pilgrim.

36:53.719 --> 36:59.129
The pilgrim poet is left by
Virgil who has guided him up to

36:59.132 --> 37:02.402
this point,
and who will not be able to

37:02.402 --> 37:05.242
enter paradise because he is a
pagan,

37:05.239 --> 37:09.209
so he is left--the pilgrim is
left--

37:09.210 --> 37:11.080
on his own to meet Beatrice.

37:11.079 --> 37:15.549
Virgil dwells in limbo at the
entrance of Inferno,

37:15.552 --> 37:20.762
where he is lodged with other
worthies of the pagan world,

37:20.755 --> 37:23.855
neither punished nor rewarded.

37:23.860 --> 37:27.760
This is a marvelous invention
of Dante's limbo,

37:27.760 --> 37:31.550
where he puts all of these
great figures of antiquity who

37:31.550 --> 37:33.600
could not--
since they came before Christ,

37:33.596 --> 37:35.916
could not have been Christian,
therefore, they cannot enter

37:35.923 --> 37:38.253
paradise,
and they're put here in limbo

37:38.251 --> 37:40.941
where they are together in this
palace,

37:40.940 --> 37:46.800
neither too happy nor sad,
with a kind of a smile,

37:46.800 --> 37:50.450
a mysterious smile on their
face discussing their works with

37:50.454 --> 37:51.264
each other.

37:51.260 --> 37:52.700
It's a kind of a perpetual
seminar...

37:52.699 --> 37:54.539
Not bad.

37:54.539 --> 38:00.299
That's where Virgil dwells,
and he left to accompany the

38:00.302 --> 38:05.962
pilgrim all the way up,
but not quite into paradise.

38:05.960 --> 38:09.330
Of course, the whole object of
the journey was to find

38:09.329 --> 38:10.029
Beatrice.

38:10.030 --> 38:17.200
The pilgrim moves on to the end
of Purgatorio to be met

38:17.202 --> 38:18.852
by Beatrice.

38:18.849 --> 38:26.529
I will get to the solemn
procession that meets him,

38:26.530 --> 38:29.090
and on which the one in
Cervantes is based,

38:29.090 --> 38:33.360
but first let me tell you that
the meeting with Beatrice is,

38:33.360 --> 38:37.250
to me, one of the funniest
moments in the whole of the

38:37.250 --> 38:39.380
western literary tradition.

38:39.380 --> 38:47.010
After the pilgrim poet has gone
through all of hell and most of

38:47.007 --> 38:53.427
purgatory in order to meet her,
the first thing that Beatrice

38:53.432 --> 38:57.762
does when they do meet is to
reproach him for having been

38:57.764 --> 39:00.554
with other women after his
death.

39:00.550 --> 39:06.550
I find this delicious and very,
very funny and a great lesson:

39:06.554 --> 39:10.004
no good deed shall go
unpunished.

39:10.000 --> 39:17.210
But what ensues in Dante is an
elaborate procession as Beatrice

39:17.211 --> 39:23.611
appeared: at its front there
march seven luminaries,

39:23.610 --> 39:27.770
the seven gifts of the Holy
Ghost, followed by the twenty

39:27.768 --> 39:31.798
elders of the Apocalypse,
canticles announce the

39:31.800 --> 39:36.690
impending arrival of Beatrice,
four mystic animals appear,

39:36.693 --> 39:41.243
the four gospels,
and a cart pulled by a griffin;

39:41.239 --> 39:44.929
the four cardinal virtues
follow and then the three

39:44.931 --> 39:48.701
theological virtues with Saint
Peter and Saint Paul,

39:48.697 --> 39:51.207
four doctors of the Church,
and St.

39:51.206 --> 39:52.016
John.

39:52.018 --> 39:55.258
The procession stops before the
pilgrim poet;

39:55.260 --> 39:58.390
the triumphant Beatrice,
symbol of theology,

39:58.393 --> 40:00.073
makes her appearance.

40:00.070 --> 40:04.110
This is the background of the
pageant that the steward has

40:04.108 --> 40:08.078
organized with the help of other
servants of the duke and

40:08.077 --> 40:11.237
duchess,
including the beautiful page

40:11.239 --> 40:13.639
playing the role of Dulcinea.

40:13.639 --> 40:19.079
One must pause to ponder,
at least I pause to ponder,

40:19.079 --> 40:22.739
the distance between the
universe created by Dante in

40:22.742 --> 40:26.692
the Divine Comedy and
that created by Cervantes in

40:26.688 --> 40:28.308
the Quixote.

40:28.309 --> 40:32.759
The pageant in the forest is
quite a bold parody,

40:32.757 --> 40:37.757
verging on the irreverent,
on the part of Cervantes.

40:37.760 --> 40:43.130
What makes the difference
between Dante's and Cervantes'

40:43.128 --> 40:43.908
world?

40:43.909 --> 40:46.699
This is what we must ask
ourselves at this point.

40:46.699 --> 40:51.489
In my view, is the progressive
crumbling of the certainties of

40:51.490 --> 40:54.990
the medieval world,
the cosmology grounded on the

40:54.994 --> 40:58.604
Ptolemaic system that has been
shattered by the discovery of

40:58.603 --> 41:01.543
the New World and the Copernican
revolution,

41:01.539 --> 41:05.839
the Protestant Reformation and
the schism in the Christian

41:05.840 --> 41:06.520
Church.

41:06.518 --> 41:11.878
The minutely ordered symbolic
universe of Christian doctrine

41:11.876 --> 41:17.506
apparent in medieval cathedrals
and in the Divine Comedy

41:17.507 --> 41:19.957
is no longer available.

41:19.960 --> 41:24.760
The fusion of Neo-Platonic love
and its courtly derivatives,

41:24.760 --> 41:28.630
which could coalesce in the
figure of Beatrice uniting

41:28.630 --> 41:31.770
worldly love with divine love
and faith,

41:31.768 --> 41:37.038
has been torn asunder,
so that, what Don Quixote finds

41:37.036 --> 41:41.506
in this brilliant scene is not a
Beatrice,

41:41.510 --> 41:46.930
but is a transvestite Dulcinea,
a transvestite Dulcinea,

41:46.929 --> 41:51.199
no less, who reveals to him
perhaps the depths of his

41:51.197 --> 41:54.807
madness and the true nature of
his desire.

41:54.809 --> 41:58.089
Javier Herrero,
whom I have quoted many times

41:58.094 --> 42:02.054
in the course of the semester,
says the following:

42:02.050 --> 42:07.210
"It is a remarkable twist
of Cervantes' irony that the

42:07.206 --> 42:12.626
incarnated Dulcinea is a lie of
the duke's built on a previous

42:12.628 --> 42:14.228
lie of Sancho.

42:14.230 --> 42:17.550
To top it all,
Dulcinea is really a man,

42:17.547 --> 42:22.397
a page of the duke's that the
steward has selected to play

42:22.396 --> 42:25.456
this role because of his beauty.

42:25.460 --> 42:29.050
Such is the ontological status
of the earthly Dulcinea,

42:29.052 --> 42:32.452
a labyrinth of lies built upon
lies of contradictory

42:32.447 --> 42:33.637
appearances."

42:33.643 --> 42:34.513
Unquote.

42:34.510 --> 42:38.150
Think about this,
think about the difference

42:38.154 --> 42:41.294
between Beatrice and this
Dulcinea.

42:41.289 --> 42:46.289
I mean, it's a huge difference,
I mean,

42:46.289 --> 42:53.279
between the sublime image of
Beatrice who incarnates theology

42:53.277 --> 43:00.147
in the Divine Comedy and
this hilarious figure of the

43:00.150 --> 43:04.290
duke's page,
who is very beautiful,

43:04.291 --> 43:07.241
playing the role of Dulcinea.

43:07.239 --> 43:13.579
This is the evolution of the
ideal woman from Dante to

43:13.583 --> 43:17.073
Cervantes,
which goes through Laura in

43:17.065 --> 43:20.435
Petrarch,
Isabel Freyre in Garcilaso,

43:20.440 --> 43:25.820
and all of these winds up in
this brilliant figure of the

43:25.815 --> 43:30.035
transvestite Dulcinea that we
have here,

43:30.039 --> 43:32.329
in this pageant in the forest.

43:32.329 --> 43:37.699
I mean, this is where Cervantes
reaches levels of penetration

43:37.701 --> 43:42.451
into the evolution of the
western mind that are really

43:42.445 --> 43:46.185
uncanny,
and where we have not really

43:46.190 --> 43:47.850
gone much beyond.

43:47.849 --> 43:56.819
Now, the pageant in the forest
is bristling with Baroque

43:56.824 --> 43:59.764
elements;
it is the most Baroque scene in

43:59.757 --> 44:00.417
the entire novel.

44:00.420 --> 44:03.890
First, it takes place in a
chiaroscuro atmosphere,

44:03.889 --> 44:06.539
and I've explained what
chiaroscuro is,

44:06.539 --> 44:09.399
as we shall see,
a darkness that is half

44:09.396 --> 44:11.226
illuminated by torches.

44:11.230 --> 44:13.640
It is a fabrication,
a construction,

44:13.641 --> 44:16.881
an assemblage of disparate
elements: theatrical,

44:16.880 --> 44:18.880
self conscious,
humorous.

44:18.880 --> 44:23.710
It is play and it is a play;
the carts that appear carrying

44:23.706 --> 44:27.456
the costumed players are like
those used to represent autos

44:27.463 --> 44:29.983
sacramentales--
remember those allegorical

44:29.981 --> 44:32.261
autos that I have
mentioned several times,

44:32.260 --> 44:35.970
like the one in the wagon of
the parliament of death episode.

44:35.969 --> 44:39.679
As in much of the second part,
these are complicated

44:39.684 --> 44:42.384
"burlas,"
pranks,

44:42.380 --> 44:46.500
based on literary allusions,
like the cave of Montesinos

44:46.496 --> 44:48.906
episode,
which drew from the classical

44:48.905 --> 44:51.145
tradition and the romances of
chivalry--

44:51.150 --> 44:56.240
remember the descent to Hades
in Homer and Virgil and one in

44:56.239 --> 44:58.569
the romances of chivalry.

44:58.570 --> 45:01.620
Here, in this pageant in the
forest we have,

45:01.619 --> 45:03.889
as in the cave,
literary figures,

45:03.889 --> 45:07.789
like Merlin and the Devil,
representing themselves.

45:07.789 --> 45:11.309
That is, you think that a
literary figure represents

45:11.307 --> 45:14.627
presumably a real person,
but here these are literary

45:14.632 --> 45:17.062
figures who are representing
literary figures;

45:17.059 --> 45:20.669
these are several layers of
fictionality here.

45:20.670 --> 45:25.350
It is literally a dantesque
world with clear allusions,

45:25.349 --> 45:28.639
as I've mentioned,
to Purgatorio

45:28.643 --> 45:31.593
XXVIII-XXX; XXVIII,
XXIX, XXX.

45:31.590 --> 45:34.040
Baroque art is,
we call it in Spanish,

45:34.043 --> 45:39.153
"efectista";
it aims at generating reactions

45:39.152 --> 45:43.032
on the audience of--
because of its outrageous

45:43.029 --> 45:47.439
dimensions or its exaggerated
qualities: that's the essence of

45:47.443 --> 45:48.533
the Baroque.

45:48.530 --> 45:52.020
The reader is treated to the
effects of this art and shown

45:52.023 --> 45:55.093
its effects on the spectators
and participants,

45:55.090 --> 45:58.390
like Sancho,
who faints, and also,

45:58.385 --> 46:04.075
its effect even on those who
are responsible for the whole

46:04.081 --> 46:06.861
charade;
they are caught within their

46:06.864 --> 46:09.754
own fiction, the duke and
duchess, and are scared.

46:09.750 --> 46:16.460
The most jarring effect in this
episode is caused by sound and

46:16.460 --> 46:22.260
if we turn to pages 695,
696, I'm going to read a

46:22.264 --> 46:27.464
passage that begins in the last
paragraph:

46:27.460 --> 46:32.020
"With these and the like
entertaining discourses,

46:32.018 --> 46:35.598
they left the tent,
and went into the wood to visit

46:35.603 --> 46:39.693
the toils and nets [this was in
the world of the hunt].

46:39.690 --> 46:44.750
The day was soon spent,
and night came on not so clear

46:44.746 --> 46:48.656
nor so calm as the season of the
year,

46:48.659 --> 46:51.389
which was the midst of summer,
required,

46:51.389 --> 46:53.389
but a kind of clair
obscur [chiaroscuro,

46:53.389 --> 46:56.239
this is what Jarvis is trying
to get at],

46:56.239 --> 46:59.959
which contributed very much to
help forward the duke and

46:59.956 --> 47:01.236
duchess's design.

47:01.239 --> 47:04.739
Now, night coming on,
soon after the twilight,

47:04.737 --> 47:09.167
on the sudden the wood seemed
on fire from all of the four

47:09.168 --> 47:12.628
quarters;
and presently were heard,

47:12.630 --> 47:15.680
on all sides,
an infinite number of cornets

47:15.675 --> 47:19.685
and other instruments of war,
as if a great body of horse was

47:19.686 --> 47:21.636
passing through the wood.

47:21.639 --> 47:24.579
The blaze of the fire,
and the sound of the warlike

47:24.577 --> 47:27.537
instruments,
almost blinded and stunned the

47:27.536 --> 47:32.036
eyes and ears of the bystanders,
and even of all that were in

47:32.041 --> 47:32.811
the wood.

47:32.809 --> 47:37.339
Presently were heard infinite
Lelilelies [which is a sound

47:37.335 --> 47:41.615
that the Moors make when they
are just going to battle]

47:41.623 --> 47:42.183
...

47:42.179 --> 47:46.319
Trumpets and clarions sounded,
drums beat,

47:46.320 --> 47:48.380
fifes played,
and almost all at once,

47:48.380 --> 47:50.740
so fast and without
intermission,

47:50.740 --> 47:55.070
that he must have had no sense,
who had not lost at the

47:55.067 --> 47:58.067
confused din so many
instruments."

47:58.070 --> 47:58.940
Unquote.

47:58.940 --> 48:00.440
The "son
confuso,"

48:00.436 --> 48:01.546
confused sound,
causes

48:01.554 --> 48:03.514
"pasmo,"
that is,

48:03.510 --> 48:05.300
astonishment,
"suspenso,"

48:05.304 --> 48:06.634
suspense,
"admirac

48:08.391 --> 48:10.301
"espanto,"
fright.

48:10.300 --> 48:12.720
I'm quoting words from the
original.

48:12.719 --> 48:16.589
The key here is the shrill,
disharmony;

48:16.590 --> 48:18.680
the sounds are:
"ronco,"

48:18.677 --> 48:21.207
hoarse, and
"espantoso,"

48:21.206 --> 48:22.216
frightening.

48:22.219 --> 48:24.739
The voices, "horr&ia
cute;sona"

48:24.739 --> 48:26.449
horrible;
the devil is sounding a

48:26.454 --> 48:28.214
"desaforado
cuerno,"

48:28.213 --> 48:29.293
an outrageous horn.

48:29.289 --> 48:32.189
They are visual effects, too.

48:32.190 --> 48:34.300
The devils are ugly:
those "feos

48:34.304 --> 48:36.854
demonios,"
and Merlin, as the figure of

48:36.853 --> 48:38.213
death, is terrifying.

48:38.210 --> 48:42.670
This whole scene is cast in
this clash of sounds and sights

48:42.666 --> 48:45.276
artificially created for effect.

48:45.280 --> 48:48.230
Even in the translation that I
have just read,

48:48.230 --> 48:52.610
you can hear that Cervantes has
created this effect also

48:52.614 --> 48:56.634
stylistically,
with harsh sounding words and

48:56.626 --> 48:59.456
onomatopoeias;
that is, is words that sound

48:59.456 --> 49:00.806
like what they represent.

49:00.809 --> 49:07.379
Now, in addition to all of this
Baroque atmosphere,

49:07.375 --> 49:13.805
Dulcinea is a transvestite,
I get back to that.

49:13.809 --> 49:16.919
Dulcinea is a man disguised as
a beautiful woman,

49:16.920 --> 49:19.900
more precisely,
a beautiful young man disguised

49:19.900 --> 49:24.030
as a beautiful young woman;
it is underlined that the page

49:24.030 --> 49:25.020
is beautiful.

49:25.018 --> 49:29.518
This is the most outrageous of
the transformations that

49:29.523 --> 49:33.243
Dulcinea undergoes,
even worse than her appearing

49:33.235 --> 49:37.175
as a peasant wench smelling of
garlic: it makes her femininity

49:37.181 --> 49:40.951
something artificial,
that can be forged with the

49:40.947 --> 49:42.297
proper disguise.

49:42.300 --> 49:46.820
The transvestite is a common
Baroque figure in Spanish

49:46.818 --> 49:51.248
literature, because in the
Baroque even gender can be

49:51.251 --> 49:53.641
constructed, fabricated.

49:53.639 --> 49:57.589
From the ideal beauty drawn
from the Neo-Platonic and the

49:57.594 --> 50:01.274
courtly love tradition from
which Don Quixote invents

50:01.266 --> 50:05.216
Dulcinea to the grotesque
peasant of Sancho's lie to this

50:05.222 --> 50:09.182
Baroque construction there is an
increase in the level of

50:09.175 --> 50:13.555
fabrication,
of artificiality.

50:13.559 --> 50:18.629
I guess we do invent the
objects of our desires;

50:18.630 --> 50:20.050
this is what the novel keeps
telling us.

50:20.050 --> 50:22.840
You've got to be careful,
you don't invent the object of

50:22.835 --> 50:25.515
your desire, and it turns out to
be a transvestite.

50:25.518 --> 50:35.688
I have seen some that can
really fool anybody.

50:35.690 --> 50:39.190
I wrote a book on a Cuban
writer called Severo Sarduy,

50:39.192 --> 50:41.772
whose chief figure is a
transvestite;

50:41.768 --> 50:47.138
he lived in Paris and I visited
with him a few places that are

50:47.135 --> 50:51.355
not in the tour's guides and
where you would find

50:51.358 --> 50:55.668
transvestites that could really
fool anybody.

50:55.670 --> 51:03.240
The grotesqueness is augmented
here and made even funnier by

51:03.237 --> 51:09.267
the feature that exposes
Dulcinea's true gender,

51:09.266 --> 51:11.186
which is...

51:11.190 --> 51:13.270
her voice!

51:13.268 --> 51:20.228
Jarvis flubs the translation,
our Jarvis.

51:20.230 --> 51:24.260
In the original it says that
Dulcinea's voice was not very

51:24.260 --> 51:28.220
"adamada,"
from "dama,"

51:28.222 --> 51:30.742
lady,
"adamada."

51:30.739 --> 51:33.079
The voice was not very
lady-like.

51:33.079 --> 51:38.159
Jarvis renders it as
"amiable,"

51:38.157 --> 51:41.967
oh, he ruins the whole effect.

51:41.967 --> 51:42.727
No!

51:42.730 --> 51:44.250
Dulcinea's voice is masculine.

51:44.250 --> 51:46.680
She has a voice,
and when she delivers the

51:46.681 --> 51:49.471
speech the contrast is that
she's beautiful,

51:49.469 --> 51:51.739
because the page is beautiful
and dressed like a beautiful

51:51.740 --> 51:53.510
woman,
but suddenly,

51:53.514 --> 51:59.074
what emerges from her is a
hoarse voice of a male.

51:59.070 --> 52:03.990
She has too much testosterone
and this contrast,

52:03.992 --> 52:10.072
this clash is what is important
here, and lamentably Jarvis

52:10.068 --> 52:11.638
flubbed it.

52:11.639 --> 52:15.099
This whole episode makes me
think of a movie that is perhaps

52:15.101 --> 52:18.801
too old for you to have seen it
but it's such a classic that you

52:18.798 --> 52:21.858
may have seen it,
Some Like It Hot,

52:21.855 --> 52:23.395
with Marilyn Monroe.

52:23.400 --> 52:27.320
It's just a wonderful movie,
and the very last line is a

52:27.324 --> 52:30.794
classic,
because, when the old man

52:30.789 --> 52:34.969
is--just continues to insist
that he,

52:34.969 --> 52:39.049
Lemon--is the--is Lemon the
guy..?--

52:39.050 --> 52:45.640
who is playing the transvestite
finally his defense is,

52:45.639 --> 52:48.109
"But I'm not even a
woman!,"

52:48.110 --> 52:51.380
and then, of course,
"Nobody's perfect,"

52:51.382 --> 52:54.382
answers her eager lover,
and, I guess,

52:54.378 --> 52:58.278
this Dulcinea is not perfect;
I mean, first of all,

52:58.282 --> 52:59.192
she's a man.

52:59.190 --> 53:03.620
She may be beautiful,
and in addition to that,

53:03.621 --> 53:08.451
she has a voice that is just
not very feminine.

53:08.449 --> 53:13.459
This whole elaborate prank is
concocted to disenchant

53:13.460 --> 53:14.520
Dulcinea.

53:14.518 --> 53:19.458
To bring her out of the state
in which Sancho's lie put her,

53:19.460 --> 53:23.990
hence the need,
within this grotesque fiction,

53:23.989 --> 53:27.809
for Sancho to punish himself,
by giving himself three

53:27.811 --> 53:30.311
thousand lashes on his buttocks.

53:30.309 --> 53:35.689
The prank has a logic of its
own which operates at the level

53:35.693 --> 53:40.533
of the lies, which are fictions
in their own right.

53:40.530 --> 53:43.230
At that level Sancho is the
culprit, so he must pay the

53:43.230 --> 53:43.630
price.

53:43.630 --> 53:49.640
Now, but why lashes on his butt
and not his back?

53:49.639 --> 53:53.369
Which is, traditionally,
prisoners are punished by

53:53.369 --> 53:57.249
having a number of lashes
administered to their bare

53:57.251 --> 54:00.601
backs, but here it's to his bare
bottom.

54:00.599 --> 54:04.539
This, of course,
adds to the humor of the whole

54:04.543 --> 54:09.263
charade, because Sancho,
of course, wants to protect his

54:09.257 --> 54:10.027
butt.

54:10.030 --> 54:12.290
Literally, he's not going to
have any such thing happen to

54:12.291 --> 54:12.531
him.

54:12.530 --> 54:16.520
But, of course,
it is an allusion to Sancho's

54:16.516 --> 54:20.316
being so dependent on his
digestive system,

54:20.320 --> 54:21.680
as it were.

54:21.679 --> 54:24.929
He has already defecated twice
in the novel--

54:24.929 --> 54:27.659
remember, in Part I,
in the fulling hammers,

54:27.659 --> 54:30.809
and then when he takes that
concoction that Don Quixote

54:30.811 --> 54:33.791
gives him and he has a terrible
bout of diarrhea;

54:33.789 --> 54:38.969
so defecation and the year end
are very much a part of Sancho.

54:38.969 --> 54:45.179
His rear, Sancho's rear
represents his fleshy character,

54:45.184 --> 54:51.854
it is his signature as much as
his belly is in the last name

54:51.849 --> 54:52.979
Panza.

54:57.809 --> 55:02.619
Casalduero,
a Spanish hispanist from the

55:02.617 --> 55:08.797
forties,
says at the duke's house,

55:08.795 --> 55:21.725
Don Quixote feels for the first
time like a real knight-errant,

55:21.730 --> 55:23.780
but that this is not enough.

55:23.780 --> 55:26.680
And this is the quote from
Casalduero, translated by me:

55:26.679 --> 55:33.779
"Man's inner reality seeks
to be confirmed in society,

55:33.780 --> 55:36.490
which when it gratifies the man
of action,

55:36.489 --> 55:41.779
grants him a personality,
but any social confirmation of

55:41.779 --> 55:45.529
what is spiritual is always a
parody.

55:45.530 --> 55:47.360
Don Quixote,
a spiritual man,

55:47.362 --> 55:49.782
sees his own image as a
knight-errant,

55:49.784 --> 55:53.654
which he has heretofore always
contemplated in the purity of

55:53.648 --> 55:54.498
action.

55:54.500 --> 55:57.380
It is an image of his external
self,

55:57.380 --> 56:01.440
the honor, social status,
the fame that society can grant

56:01.436 --> 56:05.566
the man of the spirit are
nothing but a burlesque image of

56:05.567 --> 56:08.197
him,
a distortion of his inner

56:08.197 --> 56:09.857
life." Unquote.

56:09.860 --> 56:13.840
Casalduero posits that any
manifestation of one's inner

56:13.840 --> 56:18.340
life in the world outside has
necessarily to be burlesque,

56:18.340 --> 56:22.340
that it cannot match its
essence in the purity of thought

56:22.340 --> 56:23.270
and desire.

56:23.268 --> 56:27.328
Perhaps Don Quixote is making
this discovery,

56:27.329 --> 56:31.399
as he is subject to pranks,
like those he suffers at the

56:31.396 --> 56:35.386
hands of the duke and the
duchess and their minions.

56:35.389 --> 56:39.059
Now, I want to end with a few
words about The Pretended

56:39.056 --> 56:41.656
Aunt,
because you have written a

56:41.659 --> 56:47.439
paper to be turned in today,
in which following Auerbach and

56:47.443 --> 56:52.423
Spitzer on the notion of the
Cervantean,

56:52.420 --> 56:56.520
using that knowledge you apply
it to your reading of The

56:56.518 --> 57:00.758
Pretended Aunt and try to
decide if it was written or not

57:00.757 --> 57:01.957
by Cervantes.

57:01.960 --> 57:06.180
This is a story that appeared
in a bundle of manuscripts that

57:06.175 --> 57:10.105
included some of Cervantes'
stories like Rinconete and

57:10.108 --> 57:13.058
Cortadillo, but it was not
signed.

57:13.059 --> 57:16.429
And, of course,
the debate has raged over the

57:16.429 --> 57:21.099
centuries as to whether it was
written by Cervantes or not.

57:21.099 --> 57:25.029
In favor of considering the
story to be Cervantes I would

57:25.030 --> 57:28.610
say that Esperanza is an
independent young woman who

57:28.608 --> 57:32.398
shapes her future by dint of her
will and courage;

57:32.400 --> 57:36.310
she rebels and winds up married
to a well-to-do young man;

57:36.309 --> 57:40.429
she erases her past as a whore
and becomes respectable and

57:40.427 --> 57:41.147
married.

57:41.150 --> 57:43.680
In this, she is like other
Cervantes characters,

57:43.679 --> 57:45.399
like Marcela,
Dorotea and Zoraida,

57:45.398 --> 57:49.168
and also in favor of--
the story ends with an unequal

57:49.173 --> 57:52.123
marriage similar to those in
the,

57:52.119 --> 57:54.319
a successful one at that.

57:54.320 --> 57:59.520
Against it being by Cervantes,
is the strong,

57:59.518 --> 58:02.868
too strong influence of
Celestina,

58:02.869 --> 58:08.569
above all in the salacious
episodes and details about

58:08.568 --> 58:10.758
repairing virgins.

58:10.760 --> 58:14.390
There is nothing quite as dirty
in any text by Cervantes,

58:14.389 --> 58:17.319
including The Deceitful
Marriage and The Dogs

58:17.320 --> 58:19.130
Colloquy,
stories that you will be

58:19.130 --> 58:20.740
reading towards the end of the
semester.

58:20.739 --> 58:25.239
It could be--a way out could
be--is that, it could be by an

58:25.237 --> 58:28.957
early Cervantes story before he
was Cervantes;

58:28.960 --> 58:33.030
it could be a Cervantes
imitator who wrote it and so

58:33.025 --> 58:37.885
forth, but how many of you here
thought that it was written by

58:37.887 --> 58:40.437
Cervantes, raise your hands?

58:40.440 --> 58:44.180
One, two, three, four.

58:44.179 --> 58:46.369
How many thought not?

58:46.369 --> 58:50.809
How many didn't take a side?

58:50.809 --> 58:53.149
You didn't take any sides?

58:53.150 --> 58:56.150
Student:
>

58:56.150 --> 58:58.560
Prof: Not fair.

58:58.559 --> 58:59.369
Okay.

58:59.369 --> 59:03.999