WEBVTT 00:01.850 --> 00:04.920 Prof: To me, the most evocative moment in 00:04.922 --> 00:09.812 the Quixote, as we reach the beautiful city 00:09.813 --> 00:13.523 of Barcelona, is the appearance of the sea. 00:13.520 --> 00:23.500 The sea suggests the infinite, as we approach the end, 00:23.498 --> 00:30.468 and also death: "Death's dateless 00:30.465 --> 00:37.615 night," to quote Shakespeare. 00:37.620 --> 00:44.970 Castile is landlocked, and so Spain is defining its 00:44.969 --> 00:54.669 limits, as the novel reaches its end and defines its own limits. 00:54.670 --> 00:59.940 Don Quixote and Sancho, most probably, 00:59.940 --> 01:07.120 have never seen the sea, but Cervantes certainly had, 01:07.120 --> 01:15.650 as we know, and he boasts of it in these last chapters of the 01:15.653 --> 01:17.553 Quixote. 01:17.549 --> 01:22.519 There is all these details about life in the ships, 01:22.522 --> 01:26.602 and of the galley slaves, and all of that, 01:26.599 --> 01:32.169 in which he uses very detailed maritime terminology. 01:32.170 --> 01:36.840 But Sancho and Don Quixote are unlikely to have ever seen the 01:36.842 --> 01:37.312 sea. 01:37.310 --> 01:41.820 We are not told if they had, but one, I think, 01:41.824 --> 01:43.734 should assume so. 01:43.730 --> 01:48.510 The novel, which, as a genre began with the 01:48.512 --> 01:55.002 Quixote, will be an urban genre, meaning that it will deal 01:54.995 --> 02:01.695 mostly with cities; the settings will nearly always 02:01.697 --> 02:03.207 be cities. 02:03.209 --> 02:08.119 Yet, Barcelona is the only city that appears in the 02:08.117 --> 02:13.577 Quixote, though Part II began with a visit to El Toboso, 02:13.582 --> 02:14.882 a village. 02:14.878 --> 02:22.908 Is Don Quixote doing like Aeneas, who went from Troy to 02:22.909 --> 02:25.759 Rome, obviously, not, 02:25.758 --> 02:31.068 as I said earlier, such heroic acts are no longer 02:31.070 --> 02:36.450 available to Don Quixote, heroic and historically 02:36.453 --> 02:40.993 defining acts are not available to Don Quixote. 02:40.990 --> 02:45.910 Besides, El Toboso is a mere village in Spain, 02:45.910 --> 02:51.340 and it endured no war, like Troy, and Barcelona is not 02:51.340 --> 02:58.220 the culmination of a journey, and the harbinger of an empire, 02:58.217 --> 03:02.917 like the Roman, which the Aeneid 03:02.917 --> 03:05.997 announces and celebrates. 03:06.000 --> 03:08.410 It is significant that, in contrast, 03:08.408 --> 03:10.728 to a history, I'll repeat this, 03:10.729 --> 03:14.439 a history of the novel which is mainly urban, 03:14.438 --> 03:18.708 this is the only urban setting in Don Quixote, 03:18.710 --> 03:25.380 but it is urban with a vengeance, even with its party, 03:25.378 --> 03:28.138 its own party, which is a party very much 03:28.135 --> 03:32.475 something of the city, and I'm thinking here of Le 03:41.283 --> 03:44.123 perdu, which I hope you get to read 03:44.115 --> 03:48.375 some day, in which there are many parties 03:48.379 --> 03:53.879 in that novel, and dances, and stuff. 03:53.878 --> 04:00.208 The first thing that Don Quixote and Sancho endure in 04:00.209 --> 04:07.149 Barcelona is public shame, as when the boys goad Rocinante 04:07.147 --> 04:10.797 into throwing Don Quixote. 04:10.800 --> 04:17.120 The city will mean public display, a lot of people. 04:17.120 --> 04:21.660 It is also extremely significant that Don Quixote and 04:21.663 --> 04:25.163 Sancho arrive on the eve of San Juan, 04:25.160 --> 04:28.680 the night of the eve of San Juan, that is to say, 04:28.680 --> 04:35.730 they arrive during carnival time or carnival-like time. 04:35.730 --> 04:41.430 It is as if they had arrived at a costume party already 04:41.427 --> 04:47.437 costumed--at a costume ball already costumed--because they 04:47.440 --> 04:51.240 are literary characters already. 04:51.240 --> 04:58.160 In fact, by this date, 1615, but by the time Cervantes 04:58.158 --> 05:02.208 is writing this, 1613, probably, 05:02.206 --> 05:10.296 Don Quixote and Sancho had already appeared in a carnival. 05:10.300 --> 05:15.000 Two men disguised as Don Quixote and Sancho appeared in a 05:14.997 --> 05:18.937 carnival, in a town near Lima, Peru, in 1609. 05:18.939 --> 05:24.809 So Don Quixote and Sancho were already figures that-- 05:24.810 --> 05:29.160 costumed characters that people could dress up like in the 05:29.163 --> 05:32.423 carnival, and here they are entering into 05:32.422 --> 05:34.162 a carnival atmosphere. 05:34.160 --> 05:41.960 The city of Barcelona will be a stage for various festivals and 05:41.959 --> 05:45.859 theater-like representations. 05:45.860 --> 05:50.960 The city is carnival, it is theater, 05:50.964 --> 05:58.554 it is acting out roles, it is the opposite of nature, 05:58.548 --> 06:00.588 it is art. 06:00.588 --> 06:08.148 Here, we have literary genres compressed and staged, 06:08.149 --> 06:13.879 like the Byzantine romance, and the novela morisca 06:13.882 --> 06:18.492 that I explained about in the last lecture. 06:18.490 --> 06:25.310 Now, the Byzantine romance aspect or representation I 06:25.305 --> 06:31.985 already mentioned is also called a Greek romance; 06:31.990 --> 06:37.650 this mini Greek romance, which winds up Ricote's, 06:37.654 --> 06:40.844 Ana's and Gaspar's story. 06:40.839 --> 06:45.449 Cervantes has compressed all of the elements of the Byzantine 06:45.446 --> 06:48.206 romance in the story: abductions, 06:48.209 --> 06:52.669 sea voyages, sea battles, 06:52.668 --> 07:01.498 people in costume, and it is also a reprise 07:01.495 --> 07:07.325 of the captive's tale, with a good ending, 07:07.329 --> 07:11.579 however, promised to the Muslim father. 07:11.579 --> 07:16.429 I repeat what I said in the last lecture that, 07:16.430 --> 07:19.350 at this time, Cervantes is working on his own 07:19.346 --> 07:22.006 Byzantine romance, The Trials of Persiles y 07:22.009 --> 07:25.699 Sigismunda, so it is not surprising that he 07:25.699 --> 07:31.849 should include elements of it in this part of the Quixote. 07:31.850 --> 07:37.470 The new novelistic genre that Cervantes is creating is a 07:37.468 --> 07:40.838 compendium of narrative genres. 07:40.839 --> 07:45.669 Remember that, to me, the most interesting 07:45.666 --> 07:52.726 aspect of this mini Byzantine romance is when Gaspar Gregorio 07:52.733 --> 07:59.213 is dressed as a woman so as to be less attractive to his 07:59.209 --> 08:01.799 Turkish captors. 08:01.800 --> 08:05.080 It's kind of a baroque kind of transvestitism; 08:05.079 --> 08:08.899 or transvestitism sort of turned around. 08:08.899 --> 08:13.869 Now, that story of Gaspar Gregorio and Ana is not 08:13.870 --> 08:17.290 concluded, there is no closure. 08:17.290 --> 08:21.710 The reason may be that this is the only love story that has a 08:21.709 --> 08:25.629 social political connection; the whole business of the 08:25.634 --> 08:29.624 expulsion of the moriscos and the returning to Spain 08:29.615 --> 08:30.915 against the law. 08:30.920 --> 08:36.290 That is, this is not just a story, but part of ongoing 08:36.287 --> 08:37.297 history. 08:37.298 --> 08:41.888 The novel, that is, the novel Don Quixote, 08:41.893 --> 08:46.683 like the character, is coming closer to reality not 08:46.678 --> 08:50.888 to the demands of fiction or of madness. 08:50.889 --> 08:53.909 Perhaps closure, other than death, 08:53.907 --> 08:57.197 is only available in those realms. 08:57.200 --> 09:02.070 That is, closure is only available perhaps in fiction, 09:02.066 --> 09:05.736 which it has its rounded completed forms, 09:05.738 --> 09:09.868 whereas ongoing time cannot have closure. 09:09.870 --> 09:14.290 Perhaps closure is possible, then, only in fiction, 09:14.292 --> 09:17.302 or within Don Quixote's madness. 09:17.298 --> 09:20.788 I continue to worry about the ending of the novel, 09:20.792 --> 09:24.572 with the impending ending of the novel which must have 09:24.568 --> 09:27.988 worried Cervantes a lot as he moved forward. 09:27.990 --> 09:33.900 Now, is Cervantes presenting a falsified Spain with these 09:33.895 --> 09:40.645 well-to-do citizens of Barcelona and government officials who are 09:40.645 --> 09:45.075 so lenient with the moriscos and the 09:45.076 --> 09:49.506 renegades, or is it the Spain that he 09:49.509 --> 09:51.439 would like to see? 09:51.440 --> 09:54.370 We will never know, but, on the whole, 09:54.370 --> 09:58.410 there is leniency shown here, even by the government 09:58.409 --> 10:02.449 officials who are breaking the law in doing so. 10:02.450 --> 10:09.500 Now, further activities in Barcelona take place at the 10:09.500 --> 10:12.960 house of Antonio Moreno. 10:12.960 --> 10:16.170 Antonio Moreno, a character--I'm sure that you 10:16.167 --> 10:20.587 have remarked upon--and several social events take place at his 10:20.586 --> 10:21.296 house. 10:21.298 --> 10:26.178 His house is now the setting for the action, 10:26.178 --> 10:28.548 but we have left, and will return, 10:28.548 --> 10:31.058 to the duke and duchess's house, 10:31.058 --> 10:33.518 but now it's in Antonio Moreno's house that these 10:33.517 --> 10:35.357 events, these social events take place. 10:35.360 --> 10:39.150 Here we have depicted the pleasures of the 10:39.149 --> 10:41.089 bourgeoisie. 10:41.090 --> 10:43.400 This is not quite a bourgeoisie, 10:43.400 --> 10:45.830 it is higher than the bourgeoisie, 10:45.832 --> 10:49.002 it announces the emergence of the bourgeoisie, 10:48.995 --> 10:50.025 as a class. 10:50.029 --> 10:55.739 Now, so the events here are not quite as elaborate or ornate as 10:55.739 --> 11:00.619 the ones at the duke and duchess' palace mentioned. 11:00.620 --> 11:04.530 But there is a dance, in which Don Quixote displays 11:04.533 --> 11:08.613 skills, such as dancing, that we did not know that he 11:08.605 --> 11:12.125 possessed, or imagined that he possessed. 11:12.129 --> 11:18.329 They bespeak of a past that Cervantes chose not to fill out. 11:18.330 --> 11:20.800 Where did Don Quixote learn to dance? 11:20.799 --> 11:23.299 Where did he dance? 11:23.298 --> 11:26.528 Just as we learned in the episode of the boat, 11:26.528 --> 11:30.398 that he knows how to swim: how did he ever learn how to 11:30.403 --> 11:31.053 swim? 11:31.048 --> 11:37.308 We are not given any details about this past of Don Quixote; 11:37.309 --> 11:38.909 we could imagine it. 11:38.908 --> 11:42.748 He acts, here, like an accomplished courtesan. 11:42.750 --> 11:47.650 He is, as when he is at the duke and duchess' house, 11:47.647 --> 11:52.927 the object of entertainment, but not of cruel pranks. 11:52.928 --> 11:56.448 I mean, here, these bored bourgeoisie 11:56.450 --> 11:59.400 have parties, and suddenly a literary 11:59.398 --> 12:04.088 character emerges among them; it is a godsend to them. 12:04.090 --> 12:07.590 Imagine, you're having a party and James Bond shows up. 12:07.590 --> 12:08.940 Wow! 12:08.940 --> 12:12.180 Everybody is excited; and this is what happens at 12:12.176 --> 12:13.046 this party. 12:13.048 --> 12:22.378 Now, the talking head caper, which is reminiscent of the 12:22.381 --> 12:29.001 Master Peter episode and his monkey, 12:29.000 --> 12:33.220 remember the monkey who could divine what is happening to 12:33.216 --> 12:36.986 people, is making--I mean, 12:36.990 --> 12:45.880 the whole prank centers on making literal a rhetorical 12:45.881 --> 12:47.561 figure. 12:47.558 --> 12:51.568 Remember, I mentioned that Antonomasia was a rhetorical 12:51.565 --> 12:55.635 figure, the name of the young woman in an earlier story, 12:55.644 --> 12:58.394 and now we have another one here. 12:58.389 --> 13:10.179 Here we have prosopopeia. 13:10.178 --> 13:11.718 "Prosopopeya" in Spanish; 13:11.720 --> 13:13.710 "prosopopeia" in English. 13:13.710 --> 13:17.340 The definition of prosopopeia is: 13:17.340 --> 13:22.570 "a figure in rhetoric in which things are represented as 13:22.572 --> 13:27.112 persons or by which things inanimate are spoken of as 13:27.107 --> 13:31.417 animated beings, or by which an absent person is 13:31.418 --> 13:35.978 introduced as speaking or a deceased person is represented 13:35.980 --> 13:40.340 as alive and present, a kind of personification." 13:40.340 --> 13:44.090 That's the end of the definition. 13:44.090 --> 13:48.570 You have prosopopeia, of course, when you have a 13:48.568 --> 13:52.668 ventriloquist, with his puppet that he makes 13:52.666 --> 13:56.856 speak, or projects his voice and speaks. 13:56.860 --> 13:59.360 So that is what prosopopeia is. 13:59.360 --> 14:02.950 So Cervantes here, as he does in other occasions, 14:02.945 --> 14:07.795 is hinting at the disconnection of language from signification. 14:07.798 --> 14:15.068 It is a staging of pure voice without a source. 14:15.070 --> 14:22.850 Also, he is playfully presenting the inner world of 14:22.846 --> 14:29.066 man as being made up of wood and tin, 14:29.070 --> 14:39.890 because the bust is made of wood, made to look like stone, 14:39.889 --> 14:42.649 or marble, or whatever, and the whole apparatus through 14:42.654 --> 14:45.164 which the student, who is the assistant, 14:45.158 --> 14:49.208 in this case, speaks, is made of tin. 14:49.210 --> 14:53.230 So here, other than prosopopeia, there is a hint 14:53.230 --> 14:57.680 that Cervantes is showing well the inside of man, 14:57.678 --> 15:02.398 is just like this piece of wood with a tin tube through which 15:02.403 --> 15:03.983 the voice emerges. 15:03.980 --> 15:09.270 So it's, again, one of these episodes that has 15:09.269 --> 15:14.089 all kinds of philosophical suggestions. 15:14.090 --> 15:19.840 But the most suggestive episode in Barcelona is the visit to the 15:19.839 --> 15:21.299 printing shop. 15:21.298 --> 15:27.748 Now, this is the acme of self-reflectivity. 15:27.750 --> 15:31.100 It is as if, jokingly, Don Quixote were 15:31.099 --> 15:35.859 visiting his true origin in the most material sense. 15:35.860 --> 15:40.340 Don Quixote, a character who emerged from 15:40.335 --> 15:46.595 books, is at the place where books are literally made; 15:46.600 --> 15:53.460 it is a kind of reductio ad absurdum because literature 15:53.457 --> 15:58.967 cannot be reduced to the material status of paper, 15:58.967 --> 16:05.167 ink and glue; what you make a book with, 16:05.166 --> 16:06.976 of course. 16:06.980 --> 16:11.530 But Cervantes is delving into the very basic building blocks 16:11.525 --> 16:15.545 of his craft, aware that these, 16:15.552 --> 16:21.722 that is, the apparatus, the machinery to make the book 16:21.724 --> 16:25.374 and all of that are mere concrete manifestations of it 16:25.370 --> 16:29.150 that cannot be its real origin, its real source, 16:29.153 --> 16:31.473 but he is playing with it. 16:31.470 --> 16:33.460 The episode, this episode, 16:33.461 --> 16:38.161 must be seen in relation to the scrutiny of the books and to 16:38.160 --> 16:43.030 Altisidora's dream or vision, about which I will speak later 16:43.025 --> 16:43.525 today. 16:43.529 --> 16:48.289 They all deal with the question of the book, the visit to the 16:48.292 --> 16:51.782 printing shop, I repeat, is the last frontier 16:51.784 --> 16:53.774 of self-reflectivity. 16:53.769 --> 16:58.879 Here is a fictional character observing the printing of a book 16:58.879 --> 17:02.559 about him, but the book is an apocryphal one, 17:02.563 --> 17:04.913 to add to the confusion. 17:04.910 --> 17:08.680 It is Avellaneda's book. 17:08.680 --> 17:11.830 It is a visit to the origin of all reflections and 17:11.832 --> 17:12.992 representations. 17:12.990 --> 17:19.350 The sign the boys hang on Don Quixote also reduces him to 17:19.349 --> 17:21.939 language; it's a label; 17:21.940 --> 17:23.900 he is reduced to letters. 17:23.900 --> 17:29.010 So Cervantes is taking this to the very limits. 17:29.009 --> 17:33.879 Now, Avellaneda's spurious Quixote, 17:33.880 --> 17:41.880 and you have today a handout with the cover, 17:41.880 --> 17:44.910 which I may have given you before, just so that you have it 17:44.913 --> 17:47.363 as a souvenir; you can also look at it and 17:47.364 --> 17:48.924 read it, as best you can. 17:48.920 --> 17:59.640 Notice that the esses are made like this: Tordesillas. 17:59.640 --> 18:02.600 You can read it, I'm sure, and also the wood cut 18:02.597 --> 18:05.177 of the knight is also very interesting. 18:05.180 --> 18:09.590 Avellaneda's spurious Quixote came to the 18:09.593 --> 18:13.823 attention of Cervantes when he was about... 18:13.818 --> 18:16.608 In chapter XXXVI, we said, or XXXVII. 18:16.608 --> 18:23.338 So the moment that he learned about Avellaneda's book, 18:23.338 --> 18:26.318 and probably have read it, he changed Don Quixote's 18:26.324 --> 18:29.134 destination to Barcelona away from Saragossa. 18:29.130 --> 18:32.900 Avellaneda's book allows Cervantes to add yet another 18:32.900 --> 18:35.510 dimension to his play of illusion. 18:35.509 --> 18:39.339 Later, he will borrow a character from the false 18:39.343 --> 18:44.153 Quixote and make him swear that he had never seen him 18:44.154 --> 18:46.554 and Sancho, seen Don Quixote and Sancho. 18:46.548 --> 18:50.208 You will see that as we get to the very end. 18:50.210 --> 18:54.060 This is a parody, that legal document that he 18:54.060 --> 18:55.550 makes him sign. 18:55.548 --> 18:56.448 Can you imagine? 18:56.448 --> 18:59.138 A legal document, a fictional character is making 18:59.142 --> 19:01.562 another one sign saying, of course, that he, 19:01.555 --> 19:04.525 the one giving him the document is the real one. 19:04.528 --> 19:10.258 It's a parody of those legal documents at the origin of the 19:10.256 --> 19:14.596 constitution of the picaresque, for instance, 19:14.601 --> 19:18.651 but there is a great deal more, here. 19:18.650 --> 19:23.260 This is a meta-fictional realm where characters from two 19:23.255 --> 19:28.275 different novels can actually meet and talk to each other. 19:28.278 --> 19:31.848 The play of illusion, the blurring of the border 19:31.846 --> 19:36.166 between fantasy and fiction is emphasized by these various 19:36.171 --> 19:40.691 layers of fiction involved, and by the brilliant move by 19:40.686 --> 19:44.006 which Cervantes, by not allowing Don Quixote to 19:44.010 --> 19:47.310 go to Saragossa, intends to correct history, 19:47.309 --> 19:51.289 but, of course, it's a history that is a 19:51.294 --> 19:52.294 fiction. 19:52.288 --> 19:57.868 There is no position from which to stand outside of the world of 19:57.865 --> 20:03.525 fiction in the Quixote, because the fiction is manmade; 20:03.529 --> 20:06.529 it is all that we can know. 20:06.528 --> 20:12.938 In a way, and I have mentioned this before, this anticipates 20:12.940 --> 20:18.480 the philosophy of the great Italian philosopher Gian 20:18.480 --> 20:22.610 Battista Vico, eighteenth century. 20:22.608 --> 20:26.408 The New Science is the name of his wonderful book. 20:26.410 --> 20:32.770 One of Vico's main ideas was that mankind can only understand 20:32.773 --> 20:37.753 what mankind has made; therefore, he begins his 20:37.750 --> 20:43.730 history of humanity after the flood, when it is mankind that 20:43.728 --> 20:47.678 remakes the world, not with Genesis. 20:47.680 --> 20:54.110 And what I'm saying here is that this world of fiction is 20:54.106 --> 20:56.926 manmade, and it is all that we can 20:56.929 --> 21:01.819 understand, so the modern self that emerges 21:01.818 --> 21:08.528 from this vision is a very light and fragile one, 21:08.528 --> 21:12.608 like Hamlet's, or like the one proposed by 21:12.605 --> 21:17.075 Milan Kundera in The Unbearable Likeness of 21:17.077 --> 21:22.897 Being, a novel that I suggest you read. 21:22.900 --> 21:26.430 It is a modern self devoid of certainties, 21:26.430 --> 21:29.470 certainly about himself, or herself, 21:33.568 --> 21:37.228 this infinitely receding sequence creates, 21:37.230 --> 21:40.610 is that, if anything envelopes our world, 21:40.608 --> 21:44.268 if anything contains our world, it may yet be another fiction. 21:44.269 --> 21:47.789 This is the cervantean borgesian, Borges, 21:47.787 --> 21:51.127 I'm referring to Jorge Louis Borges. 21:51.130 --> 21:55.360 This is a cervantean borgesian predicament, in which we find 21:55.363 --> 21:59.023 ourselves and from which you cannot escape in the 21:59.021 --> 22:00.171 Quixote. 22:00.170 --> 22:04.660 It is what we saw in the Las Meninas, when we 22:07.519 --> 22:11.059 and by watching, we became a part of the fiction 22:11.055 --> 22:12.405 of the painting. 22:12.410 --> 22:15.650 And the visit, the visit to the printing shop 22:19.858 --> 22:23.888 this is the shop where fiction is made. 22:23.890 --> 22:27.990 The only way out of this predicament is by an act of 22:27.987 --> 22:31.107 will, like the one that Don Quixote 22:31.114 --> 22:35.554 performs at the end, when he very artily spurns all 22:35.548 --> 22:40.818 of the seductions and all of the consolations that his comrades 22:40.816 --> 22:43.616 offer him as he is near death. 22:43.618 --> 22:47.698 His is an act of faith and a voluntary one, 22:47.702 --> 22:50.232 not an intellectual one. 22:50.230 --> 22:56.860 Moreover, Avellaneda and his Quixote may also 22:56.863 --> 23:04.283 represent a misreading of Cervantes' Quixote by the 23:04.278 --> 23:07.398 society of his time. 23:07.400 --> 23:15.000 Avellaneda's Quixote presents a character that is 23:15.002 --> 23:19.982 essentially ridiculous and funny, 23:19.980 --> 23:23.830 and a Sancho who is a glutton and a drunk, 23:23.828 --> 23:30.198 so it is the vision of the Quixote as essentially a 23:30.203 --> 23:34.023 funny book, a misreading that has been 23:34.015 --> 23:38.415 repeated in recent times by the so called "hard 23:38.419 --> 23:42.909 school" of critics of Cervantes in England, 23:42.910 --> 23:47.930 that I said that the only hard thing about it is the hardening 23:47.931 --> 23:52.461 of the critical arteries: Peter Russell and company, 23:52.460 --> 23:55.990 Anthony Close... 23:55.990 --> 24:01.910 In a way, Cervantes preempts all of them by doing what he 24:01.914 --> 24:05.834 does with Avellaneda's Quixote, 24:05.829 --> 24:10.909 but the misreading is interesting in itself. 24:10.910 --> 24:12.970 If it is a misreading it is interesting in itself. 24:12.970 --> 24:17.620 If Avellaneda's book stands for that misreading, 24:17.618 --> 24:20.208 and I have quotes from two critics, 24:20.210 --> 24:24.270 one of whom you have heard before, that will help clarify 24:24.268 --> 24:28.688 that potential misreading and also situate it historically. 24:28.690 --> 24:34.650 One is Mariscal, and I have looked all over to 24:34.647 --> 24:42.987 discover this fellow's first name and couldn't find it today. 24:42.990 --> 24:47.200 He wrote a book on Avellaneda's Quixote; 24:47.200 --> 24:54.200 he is a critic who teaches at a University in California, 24:54.200 --> 25:01.720 and he underscores the misreading by pointing out that 25:01.722 --> 25:08.002 in Avellaneda's book, Don Quixote is actually chained 25:08.000 --> 25:12.530 and sent to jail, not to Yale, to jail. 25:12.528 --> 25:19.928 I cannot resist telling an anecdote here, 25:19.930 --> 25:24.200 that is, that my mother, who was a professor, 25:24.200 --> 25:28.910 and a very brilliant woman who did very well in Greek and Latin 25:28.905 --> 25:32.545 but had little facility for modern languages, 25:32.548 --> 25:35.958 including English, and she would tell her friends 25:35.959 --> 25:40.599 in Florida to impress them, "My son Robert is in 25:40.601 --> 25:46.731 Yale," and when the ladies did not react as she hoped, 25:46.730 --> 25:49.210 she would say, "And he has been there a 25:49.211 --> 25:50.251 long time!" 25:50.250 --> 25:55.250 I had to tell her to stop saying where I was teaching, 25:55.251 --> 26:00.351 just to say that I was teaching up north, somewhere. 26:00.348 --> 26:05.068 So in any case, in Avellaneda's book, 26:05.073 --> 26:09.013 Don Quixote is sent to jail. 26:09.009 --> 26:15.489 And Mariscal writes: "Physical imprisonment in 26:15.487 --> 26:19.847 the original text [meaning in the Cervantes's Quixote 26:19.847 --> 26:22.427 1605] with the exception of the open 26:22.434 --> 26:26.874 cage in the final chapters is displaced by a series of images 26:26.869 --> 26:30.569 designed to explore the inescapable yet complex and 26:30.566 --> 26:34.186 often tenuous inter relationships between the self 26:34.188 --> 26:36.848 and the social world: ropes, strings, 26:36.848 --> 26:38.178 nets. 26:38.180 --> 26:40.910 In Avellaneda, on the other hand, 26:40.912 --> 26:44.842 the subject must be held forcibly in place, 26:44.838 --> 26:48.468 so that it can be the recipient of both the law's violence and 26:48.471 --> 26:51.631 the shame produced by the exchanges with the community 26:51.627 --> 26:53.487 [the subject, here, meaning Don 26:53.488 --> 26:54.228 Quixote]." 26:54.230 --> 26:57.740 He goes on: "The condemnation of Don Quixote by 26:57.741 --> 27:01.671 the subordinate classes merely underscores the ideological 27:01.669 --> 27:05.109 homogeneity, to which the Spanish elites, 27:05.105 --> 27:08.745 with Avellaneda as spokesman, aspired." 27:08.750 --> 27:12.360 So you can see, Mariscal is equating 27:12.358 --> 27:17.928 Avellaneda's imprisoning of the Quixote with the 27:17.926 --> 27:23.286 mainstream ideology of the Spanish of the times. 27:23.289 --> 27:26.969 He goes on: "Avellaneda imprisons his 27:26.967 --> 27:31.937 protagonist because he is mad [meaning the protagonist, 27:31.940 --> 27:35.200 not Avellaneda], yet his more pressing ambition 27:35.203 --> 27:39.323 is to castigate the alternative forms of subjectivity which 27:39.320 --> 27:42.160 Cervantes had explored in his novel. 27:42.160 --> 27:45.690 The attempt to cultivate an individualized existence-- 27:45.690 --> 27:49.450 the attempt to cultivate and individualized 27:49.451 --> 27:51.291 existence-- runs head on, 27:51.286 --> 27:54.696 not only into the traditional constraints of shame and 27:54.696 --> 27:57.346 revenge, but finally into the twin 27:57.353 --> 28:01.273 powers of early Spanish absolutism with Avellaneda as 28:01.270 --> 28:05.040 their literary spokesman which work to suppress the 28:05.038 --> 28:06.468 attempt." 28:06.470 --> 28:09.170 So Avellaneda's working to suppress these forms of 28:09.172 --> 28:12.152 subjectivity that are present in the Quixote. 28:12.150 --> 28:14.830 Finally: "The refusal to align 28:14.828 --> 28:18.398 himself with any of the hegemonic forces at work in his 28:18.400 --> 28:21.840 society underscores a strong sense of wandering, 28:25.336 --> 28:27.226 in the original Quixote. 28:27.230 --> 28:31.760 By moving along the margins of the dominant culture, 28:31.759 --> 28:35.159 Cervantes' Don Quixote is not the romantic rebel which much of 28:35.161 --> 28:37.671 traditional criticism has wanted him to be. 28:37.670 --> 28:41.930 Yet, he nonetheless works to clear a space upon which modern 28:41.925 --> 28:45.235 forms of subjectivity would later appear." 28:45.243 --> 28:46.113 Unquote. 28:46.108 --> 28:50.828 Mariscal is not aware that the individual alternative forms of 28:50.828 --> 28:55.388 subjectivity that he talks about are bourgeois in origin and 28:55.394 --> 28:57.374 destiny, if we're going to see them from 28:57.371 --> 28:58.501 the Marxist point of view that he, 28:58.500 --> 29:02.930 I presume, is looking at them from, 29:02.930 --> 29:06.460 moreover, he works, I think, with a utopian vision 29:06.459 --> 29:10.569 of the liberated self that Cervantes would have never been 29:12.868 --> 29:18.438 But what he says is very suggestive about the source of 29:18.443 --> 29:24.533 Avellaneda's concept of the character that he has taken from 29:24.534 --> 29:25.984 Cervantes. 29:29.803 --> 29:33.043 times, writes: "Gilman [Stephen Gilman, 29:33.042 --> 29:36.872 whom you have also met many times, professor at Harvard for 29:36.869 --> 29:40.259 many years, and he wrote the best works on 29:40.255 --> 29:42.725 Avellaneda] has demonstrated the 29:42.730 --> 29:47.280 coincidence between Avellaneda's attitude and that of post 29:47.284 --> 29:51.734 Council of Trent morals, which were aesthetic and 29:51.730 --> 29:57.030 orthodox [You know now what the Council of Trend because you've 29:57.028 --> 29:59.248 read it in Elliott, no? 29:59.250 --> 30:03.650 This is a retrenchment of Catholic Orthodoxy in the Spain 30:03.653 --> 30:06.883 of the time.] Avellaneda would then be the 30:06.876 --> 30:10.586 representative of all, of the people's voice, 30:10.594 --> 30:14.874 but this does not explain why Avellaneda shows himself to be 30:14.871 --> 30:18.131 so favorable to the moriscos [which his 30:18.132 --> 30:18.932 does]. 30:18.930 --> 30:21.580 His Aragenese origin [the Aragenese were against the 30:21.580 --> 30:23.350 expulsion] which is probable is not 30:23.347 --> 30:24.437 sufficient proof. 30:24.440 --> 30:26.350 In any case, if one accepts that 30:26.352 --> 30:30.122 Avellaneda's book is a kind of negative collective response by 30:30.115 --> 30:33.315 Spain's society of the times to the freedom and inner 30:33.324 --> 30:36.294 independence with which Cervantes had endowed his 30:36.286 --> 30:39.876 characters, we will then understand why 30:39.882 --> 30:44.872 Cervantes did not have immediate and direct successors, 30:44.868 --> 30:48.038 and the reason why the modern novel invented in Spain by 30:48.035 --> 30:50.965 Cervantes would have to wait until the middle of the 30:50.971 --> 30:54.541 nineteenth century to be able to return to its birthplace. 30:56.856 --> 31:00.266 in contrast to the nearly underground Spain found in a 31:00.269 --> 31:04.199 path that goes from Rojas and the mystics to Cervantes did not 31:04.196 --> 31:08.056 believe in individual independence and freedoms." 31:13.390 --> 31:15.400 here, orthodox, and becoming increasingly 31:15.404 --> 31:17.274 orthodox in the sixteenth century, 31:17.269 --> 31:19.179 but that there is an underground Spain, 31:19.180 --> 31:23.470 that goes from Rojas, meaning Fernando de Rojas, 31:23.470 --> 31:26.710 the author of Celestina, through the mystics, 31:26.710 --> 31:30.910 Saint John of the Cross, and so forth, 31:30.910 --> 31:33.990 who were seen with great suspicion by the Inquisition, 31:33.990 --> 31:41.190 to Cervantes, and that this is a counter 31:41.191 --> 31:44.331 official Spain. 31:44.328 --> 31:48.648 But that Avellaneda represents orthodox Spain, 31:48.645 --> 31:52.195 here, above this, which suppresses it, 31:52.195 --> 31:58.235 and that's why he gives us that view of the Quixote. 31:58.240 --> 32:02.870 I hope this is clear. 32:02.868 --> 32:07.468 Cervantes' relatively mild response-- 32:07.470 --> 32:09.700 that's where I would like to put all of the hard school of 32:09.699 --> 32:12.339 critics, there with that orthodox Spain 32:12.344 --> 32:15.284 that represses, you know? 32:15.278 --> 32:20.888 Now, Cervantes's relatively mild response to Avellaneda is 32:20.894 --> 32:23.264 inline with his irony. 32:23.259 --> 32:28.089 There is a great deal of humor on what he does to Avellaneda, 32:28.087 --> 32:32.587 and we'll see it immediately, when we get to Altisidora's 32:32.594 --> 32:33.484 vision. 32:33.480 --> 32:39.600 An ironist like Cervantes can never be so sure of himself as 32:39.604 --> 32:44.384 to be virulent in controversy and in debate. 32:44.380 --> 32:49.620 How can he be so sure of himself? 32:49.618 --> 32:54.108 One of Cervantes' most admired traits is this restraint and 32:54.107 --> 32:57.357 self-mockery, and it shows in his answer to 32:57.358 --> 32:58.518 Avellaneda. 32:58.519 --> 33:01.119 If you remember, the 1605 prologue, 33:01.118 --> 33:04.858 you remember this self mocking Cervantes who doesn't know what 33:04.861 --> 33:07.071 to do about writing the prologue, 33:07.068 --> 33:09.618 and so forth, and so on, and all of these 33:09.615 --> 33:12.985 authorial games by which he distances himself from his 33:12.988 --> 33:15.018 creation, and all of that. 33:15.019 --> 33:19.049 Someone with that position could only do to Avellaneda what 33:19.054 --> 33:20.814 he did, according to Gilman, 33:20.814 --> 33:24.064 he sort of threw a "net of irony" over Avellaneda to 33:24.060 --> 33:24.860 capture him. 33:24.858 --> 33:29.148 He did say a few nasty things in the prologue of the 1615 33:29.145 --> 33:33.345 Quixote but, of course, Avellaneda had said 33:33.351 --> 33:38.281 terrible things about Cervantes, mocked him even because of his 33:38.279 --> 33:40.279 injured hand and everything. 33:40.279 --> 33:45.919 Now, we come to what I think is the culminating event in 33:45.923 --> 33:51.873 Barcelona which is Don Quixote's defeat at the hands of the 33:51.874 --> 33:54.854 Knight of the White Moon. 33:54.848 --> 33:59.688 The Knight of the White Moon is the latest reincarnation of 34:03.689 --> 34:07.289 his neighbor since his failure as the Knight of the Mirrors. 34:07.288 --> 34:11.538 He is now in cahoots with the duke and duchess who tell him 34:15.103 --> 34:17.543 for him in Saragossa and did not find him there, 34:17.539 --> 34:19.259 of course. 34:19.260 --> 34:24.040 The rules are carefully agreed upon, as with the earlier 34:24.038 --> 34:28.988 encounter, and Don Quixote is fairly defeated within those 34:28.990 --> 34:29.860 rules. 34:29.860 --> 34:33.790 He speaks as if dead from within his armor as he lay on 34:33.793 --> 34:34.743 the ground. 34:34.739 --> 34:39.199 The narrator says: "Don Quixote, 34:39.199 --> 34:41.839 bruised and stunned, without lifting up his visor as 34:41.844 --> 34:43.974 if he was speaking from within a tomb, 34:43.969 --> 34:46.549 in a feeble and low voice said..." 34:46.550 --> 34:47.970 And so forth. 34:47.969 --> 34:49.309 Poor Don Quixote! 34:49.309 --> 34:54.399 If Don Quixote had been killed, this would have been a possible 34:54.398 --> 34:58.338 ending but even in defeat, by his being defeated, 34:58.336 --> 35:01.616 this could have ended the novel too. 35:01.619 --> 35:03.919 Why doesn't it? 35:03.920 --> 35:09.170 Well, it doesn't because he has not yet given up his persona as 35:09.166 --> 35:10.516 knight-errant. 35:10.518 --> 35:16.268 Hence the process of his coming to himself is not yet finished, 35:16.268 --> 35:20.078 and, as I told you, that is, his most important 35:20.077 --> 35:23.567 task, the task that is comparable to 35:23.565 --> 35:28.365 the heroic one that Aeneas accomplishes in Virgil. 35:28.369 --> 35:32.779 The profound suggestion of Don Quixote's defeat at the hands of 35:32.775 --> 35:35.615 the Knight of the White Moon is that, 35:35.619 --> 35:38.659 given that this knight is like the Knight of the Mirrors, 35:38.659 --> 35:40.719 a reflection of Don Quixote himself, 35:40.719 --> 35:46.279 it may be that Don Quixote is being defeated by a projection 35:46.282 --> 35:48.642 of his own inner world. 35:48.639 --> 35:53.089 If in Part I, Don Quixote's body is 35:53.085 --> 35:59.625 imprisoned in the cage, here it is as if his spirit 35:59.625 --> 36:03.805 were the one being defeated. 36:03.809 --> 36:06.959 But it is again, as if Don Quixote were 36:06.961 --> 36:11.941 conquered by his own reflection, by a projection of something 36:11.938 --> 36:13.928 within his own self. 36:13.929 --> 36:15.959 This is what is profound about this scene. 36:15.960 --> 36:18.000 It is easy to establish, of course, 36:18.000 --> 36:21.080 that the Knight of the White Moon not only is an image of Don 36:21.076 --> 36:22.766 Quixote-- remember, that 36:22.771 --> 36:26.901 "luna" meant the reflecting part of 36:26.896 --> 36:29.566 the mirror, "la luna del 36:29.567 --> 36:31.747 espejo," but also that 36:31.751 --> 36:34.811 "lunatic" refers to Don Quixote's 36:34.811 --> 36:35.761 madness. 36:35.760 --> 36:39.040 The moon, of course, is a celestial body of 36:42.059 --> 36:44.739 reflecting Don Quixote's light in a way, 36:44.739 --> 36:48.959 or the projection of Don Quixote's spirit. 36:48.960 --> 36:55.830 I am intrigued by the name of this knight which seems to be 36:55.827 --> 36:57.247 redundant. 36:57.250 --> 37:01.240 I mean, the moon is always white, "white moon." 37:01.239 --> 37:08.259 The doubly white moon seems to cancel itself out in its 37:08.260 --> 37:14.220 repeated whiteness, like the--this brings to mind 37:14.222 --> 37:17.502 the white pearl, upon the white forehead, 37:17.498 --> 37:19.858 at the end of Dante's "Paradiso," 37:19.860 --> 37:22.390 white pearl on Beatrice's forehead loses-- 37:22.389 --> 37:24.499 cannot be seen because it's white upon white. 37:24.500 --> 37:28.790 Don Quixote is fighting, as it were, 37:28.789 --> 37:35.479 against his own nothingness, that light being, 37:35.480 --> 37:38.300 that I mentioned before, when alluding to Hamlet and to 37:38.295 --> 37:40.425 Kundera, this nothingness, 37:40.427 --> 37:45.837 which is this white upon white, that disappears on to itself 37:45.842 --> 37:49.092 because white can also mean absence, 37:49.090 --> 37:51.920 and in that sense, the Knight of the White Moon 37:51.920 --> 37:53.890 can also be an image of death. 37:53.889 --> 37:58.899 Is there any significance, the significance to the fact 37:58.898 --> 38:04.648 that Don Quixote is defeated by the sea on the shore in an open 38:04.650 --> 38:08.640 space that is nevertheless a frontier, 38:08.639 --> 38:11.179 a border between land and water? 38:11.179 --> 38:15.729 Remember what I said at the very beginning about the sea 38:15.731 --> 38:19.541 evoking for me, at least, an image of death. 38:19.539 --> 38:24.669 It is an image of the infinite, and of death. 38:24.670 --> 38:28.530 There seems to be a correspondence to me, 38:28.525 --> 38:33.725 anyway, between the white of the knight and the sea. 38:33.730 --> 38:41.280 So this is, this dramatic defeat of Don Quixote, 38:41.280 --> 38:47.610 where he has to accept the conditions set out before a 38:47.614 --> 38:51.684 fight, and so they begin to trudge 38:51.681 --> 38:56.381 back to the village, and we have this marvelous 38:56.380 --> 38:58.120 pastoral interlude. 38:58.119 --> 39:04.629 Don Quixote imagines a life as a shepherd, drawn from the 39:04.632 --> 39:06.962 pastoral romances. 39:06.960 --> 39:10.620 Cervantes, in a way, is adding to this, 39:10.621 --> 39:15.151 what I've called smorgasbord of narrative modes, 39:15.150 --> 39:19.100 the pastoral, but only as a project by Don 39:19.101 --> 39:20.451 Quixote. 39:20.449 --> 39:22.869 This would be a novel, another novel, 39:22.873 --> 39:26.983 parallel to the Quixote, in which the pastoral romances 39:26.981 --> 39:30.081 would play the role of the chivalric ones. 39:30.079 --> 39:38.279 Remember, that we have had a mini Byzantine romance and a 39:38.284 --> 39:45.024 mini morisca novel, and if you remember, 39:45.023 --> 39:51.473 on pages 904,905, he says, Don Quixote: 39:51.469 --> 39:55.879 "This is the meadow where we lighted on the gay 39:55.875 --> 40:00.795 shepherdesses and gallant shepherds who intended to revive 40:00.798 --> 40:02.488 in it, and imitate, 40:02.494 --> 40:06.944 the pastoral Arcadia; a thought as new as ingenious; 40:06.940 --> 40:09.680 in imitation of which, if you approve it, 40:09.679 --> 40:12.139 I could wish, O Sancho, we might turn 40:12.143 --> 40:16.393 shepherds, at least for the time I must have live retired. 40:16.389 --> 40:18.889 [Meaning, according to what he has agreed.] 40:18.893 --> 40:21.283 I will buy sheep, and all other materials 40:21.275 --> 40:23.775 necessary for the pastoral employment; 40:23.780 --> 40:25.900 and I, calling myself the shepherd Quixotiz, 40:25.900 --> 40:32.550 and you the shepherd Panzino, we will range the mountains, 40:32.550 --> 40:34.490 the woods and meadows, singing here, 40:34.489 --> 40:36.829 and complaining there, drinking the liquid crystal of 40:36.833 --> 40:39.033 the fountains, of the limpid brooks, 40:39.025 --> 40:40.655 or of the mighty rivers. 40:40.657 --> 40:41.807 The oaks..." 40:41.811 --> 40:42.901 And so forth. 40:42.900 --> 40:47.540 This is a description of this Arcadia, of the pastoral. 40:47.539 --> 40:51.609 It is a hilarious meta- novel that he imagines here, 40:51.610 --> 40:55.010 in which the would-be shepherds, Don Quixote and 40:55.014 --> 40:57.374 Sancho, the priest and barber, 41:00.467 --> 41:03.017 as we have seen derived from their own, 41:03.019 --> 41:06.249 and give names to their ladies. 41:06.250 --> 41:10.400 Remember, Sancho says he's going to call his wife Teresona, 41:10.403 --> 41:14.133 with the augmentative, because apparently she is fat, 41:14.128 --> 41:15.058 like him. 41:15.059 --> 41:19.489 This is the world of Garcilaso's eclogues brought to 41:19.489 --> 41:22.539 Don Quixote's mind, as he mentions it, 41:22.543 --> 41:24.833 by the episode of the young women, 41:24.829 --> 41:28.239 who are preparing to stage one of the eclogues, 41:28.239 --> 41:32.319 which has been anticipated by all of the references to the 41:32.320 --> 41:35.640 poet in this Part II, and there will be more. 41:35.639 --> 41:40.489 It is also a circling back to Cervantes' first book, 41:40.485 --> 41:44.855 La Galatea, remember, of which he always 41:44.858 --> 41:48.468 said he would write a second part. 41:48.469 --> 41:52.849 In this new novel there would be a world of love without 41:52.851 --> 41:56.201 violence an ideal Neo-Platonic universe. 41:56.199 --> 41:59.209 The same clash appears in the Quixote between a 41:59.208 --> 42:02.728 fallen present and an ideal past that cannot be revived in this 42:02.726 --> 42:05.926 projected novel, not to mention that all the 42:05.927 --> 42:10.167 potential characters are too old to be pastoral lovers, 42:10.170 --> 42:14.720 and one is a priest, who can be no lover at all. 42:14.719 --> 42:20.569 So it is kind of a grotesque pastoral romance in the making, 42:20.572 --> 42:24.342 as the Quixote is, in some ways, 42:24.340 --> 42:28.210 also a grotesque chivalric romance. 42:28.210 --> 42:33.790 This is followed by the episode where they're run over a herd of 42:33.791 --> 42:37.201 pigs, that critics have found that 42:37.199 --> 42:42.889 Cervantes tinkered around of where to place this episode, 42:42.889 --> 42:46.949 but the important thing is that there seems to be no end to the 42:46.945 --> 42:51.065 humiliations that Don Quixote is enduring towards the end of the 42:51.065 --> 42:54.375 book, because, remember, 42:54.376 --> 43:02.636 that there is nothing worse than a pig or a swineherd, 43:02.639 --> 43:06.559 which is the word I was looking for the other day and could not 43:06.557 --> 43:10.157 find when alluding to the episode where Sancho has to pass 43:10.159 --> 43:13.509 judgment on the man who allegedly raped a woman, 43:13.510 --> 43:16.420 and so forth, the man was a swineherd. 43:16.420 --> 43:21.220 And so, our heroes are returned forcibly to the duke and 43:21.219 --> 43:22.789 duchess's house. 43:22.789 --> 43:26.449 These are not satisfied with all of the pranks that they have 43:26.452 --> 43:29.752 made Don Quixote and Sancho endure and prepare yet, 43:29.750 --> 43:33.100 another, elaborate one for them, when they hear of the 43:33.101 --> 43:36.011 knight's defeat and return to their village. 43:36.010 --> 43:39.890 Cervantes inserts here a statement by Cide Hamete to 43:39.885 --> 43:44.285 underline the questionable state of mind of these frivolous 43:44.293 --> 43:45.513 aristocrats. 43:45.510 --> 43:50.330 He says, I quote page nine-one-nine: 43:50.329 --> 43:53.759 "And Cide Hamete says besides that to his thinking the 43:53.764 --> 43:56.964 mockers were as mad as the mocked and that the duke and 43:56.960 --> 44:00.510 duchess were within two fingers breath of appearing to be mad 44:00.514 --> 44:03.514 themselves, since they took so much pains 44:03.507 --> 44:06.097 to make a jest of the two fools." 44:06.099 --> 44:10.639 So this is world where there has been a contamination of 44:10.635 --> 44:13.765 madness from character to character. 44:13.768 --> 44:17.338 The skit with the dead Altisidora is full of literary 44:17.338 --> 44:18.228 resonances. 44:18.230 --> 44:22.210 The staging is elaborate with bleachers for the audience, 44:22.210 --> 44:26.550 an elevated place for the duke and duchess, and blazing lights 44:26.545 --> 44:28.745 to turn the night into day. 44:28.750 --> 44:33.580 Such is the artifice that night is turned into day with all of 44:33.581 --> 44:34.771 these lights. 44:34.768 --> 44:40.018 Sancho is costumed in a shroud of flames and a bonnet with 44:40.023 --> 44:45.113 devils on it, which seem Dantesque allusions, 44:45.106 --> 44:50.026 and the lines recited, at least, one of the octaves 44:50.034 --> 44:54.464 recited during the skit are directly taken from Garcilaso's 44:54.456 --> 44:55.216 poetry. 44:55.219 --> 45:01.009 The farce is a representation of the death of the beloved in 45:01.010 --> 45:06.410 the courtly love tradition and in Renaissance poetry. 45:06.409 --> 45:12.249 The famous deaths are of those Beatrice (Dante), 45:12.253 --> 45:18.473 Laura, (Petrarch) and Isabel Freyre (Garcilaso); 45:18.469 --> 45:20.139 these are three ladies. 45:20.139 --> 45:25.399 There deaths marked the poetry of these major poets dividing 45:25.400 --> 45:30.930 their works into the before and then after: before the death of 45:30.929 --> 45:33.049 Laura, after the death of Laura, 45:33.045 --> 45:34.675 before the death of Isabel Freyre, 45:34.679 --> 45:37.189 after the death, and so forth. 45:37.190 --> 45:42.700 So this is a very significant moment in the history of western 45:42.699 --> 45:45.859 poetry that is being staged here; 45:45.860 --> 45:50.470 this is a representation of Eros and Thanatos, 45:50.469 --> 45:53.129 of love and death, but in a Baroque farce 45:53.132 --> 45:57.372 involving the protagonists, and with a whole household, 45:57.367 --> 46:01.537 it seems, in attendance. 46:01.539 --> 46:04.119 This is a prank as elaborate as the pageant in the forest. 46:04.119 --> 46:07.359 It is a repetition of it, as Sancho's fall in the pit was 46:07.356 --> 46:10.186 a repetition of the cave of Montesinos episode. 46:10.190 --> 46:12.410 Sancho's body, is again, the object, 46:12.413 --> 46:15.213 or better, the vehicle for expiation, and the 46:18.130 --> 46:22.680 that is, they are going to slap him around and pinch him, 46:22.679 --> 46:25.539 and stick pins in his butt, and so forth, 46:25.539 --> 46:30.709 and this is what will allow Altisidora to be revived. 46:30.710 --> 46:33.800 Why? Why again? 46:33.800 --> 46:37.900 It seems that Sancho has been cast in the role of the fool who 46:37.900 --> 46:41.060 must suffer all of the physical shenanigans, 46:41.059 --> 46:45.659 meaning the fool drawn from the carnival tradition. 46:45.659 --> 46:49.459 This is a reading of his figure that is parallel to the one 46:49.461 --> 46:52.351 Avellaneda made, by turning him to a farcical 46:52.347 --> 46:55.737 glutton and drunk; meaning the reading that these 46:55.744 --> 46:59.464 duke and duchess and their minions have done of Sancho, 46:59.460 --> 47:01.980 because, remember, they had read Part I, 47:01.980 --> 47:04.870 is parallel to the one that Avellaneda made. 47:04.869 --> 47:10.349 This is why he is made to endure these humiliations. 47:10.349 --> 47:15.949 Don Quixote--the flames in his dress and the lighting of the 47:15.945 --> 47:20.115 courtyard seem to be an allusion to Dido, 47:20.119 --> 47:23.599 who burned herself to death when abandoned by Aeneas. 47:23.599 --> 47:27.549 Don Quixote's return and impending departure are like 47:27.554 --> 47:31.594 Aeneas', and Altisidora, again, is playing the role of 47:31.585 --> 47:32.265 Dido. 47:32.268 --> 47:36.908 Her anger, and her insults, which are very colorful and 47:36.911 --> 47:40.211 actually accurately, describe Don Quixote, 47:40.213 --> 47:42.383 who's very ugly, and he looks like a camel, 47:42.380 --> 47:43.770 she says, and all of these things. 47:43.768 --> 47:48.068 But all of these truths play into the fiction because it 47:48.074 --> 47:53.324 sounds like she's saying them in spite, because he's leaving her; 47:53.320 --> 47:57.480 so even these truths are absorbed into the fiction. 47:57.480 --> 48:02.780 The whole episode is thick with literary references and it's 48:02.775 --> 48:08.425 staging--and it is a staging of great literature and reducing it 48:08.431 --> 48:09.511 to play. 48:09.510 --> 48:12.410 Now, remember, those who are doing this, 48:12.414 --> 48:16.294 are the duchess and the duke, who are these prankster 48:16.288 --> 48:17.478 aristocrats. 48:17.480 --> 48:22.390 Now, the most remarkable passage in the whole sequence of 48:22.393 --> 48:27.223 episodes involving Altisidora is her infernal vision. 48:27.219 --> 48:29.999 It's one of my favorite passages in the whole book. 48:30.000 --> 48:33.780 Sancho, as you remember, is curious to learn what 48:33.775 --> 48:38.175 Altisidora saw when she was dead, what the afterworld was 48:38.181 --> 48:41.801 like, he wants to know, particularly hell; 48:41.800 --> 48:43.210 he wants to know what hell is like. 48:43.210 --> 48:46.460 Notice, that Altisidora's infernal voyage is like Don 48:46.463 --> 48:50.343 Quixote's descent into the cave of Montesinos and Sancho's fall 48:50.344 --> 48:51.414 into the pit. 48:51.409 --> 48:55.879 Altisidora's reply, which she must have made up on 48:55.876 --> 48:58.896 the spot, like Dorotea the story of 48:58.898 --> 49:03.578 Princess Micomicona in Part I, is a truly brilliant boast of 49:03.579 --> 49:09.069 imaginative skill on her part, and of course, on Cervantes's. 49:09.070 --> 49:14.440 Page 920: "‘In truth,' quoth Altisidora, 49:14.443 --> 49:19.713 'I did not die quite, since I went not to hell; 49:19.710 --> 49:24.740 for had I once set foot in it, I could not have got out again, 49:24.742 --> 49:27.962 though I had never so great a desire. 49:27.960 --> 49:30.820 [Remember that those who went to hell, at the entrance of 49:30.824 --> 49:33.134 hell, in Dante's hell, it says, lose all hope, 49:33.126 --> 49:35.016 you cannot ever get out of here]. 49:35.018 --> 49:36.958 The truth is, I came to the gate, 49:36.960 --> 49:39.870 where about a dozen devils were playing at tennis 49:39.871 --> 49:42.601 ["pelota" is in Spanish. 49:42.599 --> 49:45.459 They say "tennis," tennis was not invented until 49:45.463 --> 49:48.363 the eighteenth century, so Jarvis is indulging in a 49:48.364 --> 49:51.594 little anachronism here, but it's close enough], 49:51.590 --> 49:54.090 in their waistcoats and drawers, 49:54.090 --> 49:57.320 their shirt-collars ornamented with Flanders lace, 49:57.320 --> 50:00.730 and ruffles of the same, with four inches of the wrists 50:00.733 --> 50:02.663 bare, to make their hands seem the 50:02.655 --> 50:05.765 longer, in which they held rackets of 50:05.768 --> 50:06.318 fire. 50:06.320 --> 50:10.370 But what I wondered most at was, that, instead of 50:10.371 --> 50:13.411 tennis-balls, they made use of books, 50:13.409 --> 50:17.039 seemingly stuffed with wind and flocks; 50:17.039 --> 50:22.279 a thing marvellous and new: but this I did not so much 50:22.282 --> 50:25.332 wonder at, as to see, that whereas it is 50:25.333 --> 50:27.953 natural for winning gamesters to rejoice, 50:27.949 --> 50:30.909 and losers to be sorry, among the gamesters of that 50:30.907 --> 50:32.587 place, all grumbled, 50:32.592 --> 50:35.982 all were upon the fret, and all cursed one another.' 50:35.980 --> 50:39.050 'That is not at all strange,' answered Sancho: 50:39.045 --> 50:41.015 'for devils, play or not play, 50:41.019 --> 50:44.289 win or not win, can never become contented.' 50:44.289 --> 50:47.169 [Sancho is knowledgeable about what happens in hell, 50:47.170 --> 50:50.990 of course, he knows the oral tradition about what is in hell, 50:50.989 --> 50:53.729 and how...] 'It is true,' quoth Altisidora: 50:53.731 --> 50:56.671 'but there is another thing I wondered at, 50:56.670 --> 51:00.330 I mean, I wondered at it, then [She has corrected 51:00.331 --> 51:02.431 herself, because she's speaking in the 51:02.434 --> 51:03.724 present, and she says no, 51:03.722 --> 51:08.262 no, and she's making it up, again, remember that Dorotea 51:08.257 --> 51:12.067 makes a mistake, also, and has to be corrected 51:12.065 --> 51:14.465 when she's making it up] which was, 51:14.469 --> 51:17.289 that, at the first toss the ball was demolished, 51:17.289 --> 51:19.719 and could not serve a second time; 51:19.719 --> 51:23.509 and so they whipped them away, and new and old, 51:23.510 --> 51:26.570 that it was marvelous to behold: and to one of them, 51:26.570 --> 51:28.540 flaming new, and neatly bound, 51:28.539 --> 51:32.769 they gave such a smart stroke, that they made it its guts fly 51:32.771 --> 51:34.801 out, and scattered its leaves all 51:34.795 --> 51:36.895 about, and one devil said to another: 51:36.898 --> 51:38.808 "See what that book is"; 51:38.809 --> 51:42.279 and the other deviled answered: "It is the Second Part 51:42.277 --> 51:45.117 of the History of Don Quixote de la Mancha, 51:45.119 --> 51:48.959 not composed by Cid Hamet, its first author, 51:48.960 --> 51:52.090 but by an Aragonese, who calls himself a native of 51:52.090 --> 51:53.370 Tordesillas." 51:53.369 --> 51:55.629 [You have that on your cover of Avellaneda's.] 51:55.634 --> 51:58.204 "Away with it," quoth the other devil, 51:58.199 --> 52:01.549 "and down with it to the bottom of the infernal abyss, 52:01.550 --> 52:03.970 that my eyes may never see it more." 52:03.969 --> 52:05.059 "Is it so bad?" 52:05.059 --> 52:06.359 answered the other. 52:06.360 --> 52:07.840 "So bad," replied the first, 52:07.840 --> 52:12.130 "that, had I myself undertaken to make it worse, 52:12.130 --> 52:14.140 it had been past my skill." 52:14.139 --> 52:17.599 They went on with their play, tossing other books and up and 52:17.601 --> 52:19.431 down...'" And so forth. 52:19.429 --> 52:22.519 There is a lot of Dante in this episode, 52:22.518 --> 52:26.458 but the story of devil's playing a form of tennis, 52:26.460 --> 52:29.870 "pelota," with the souls or the heads of 52:29.869 --> 52:32.329 the dead, is a traditional story, 52:32.327 --> 52:33.077 gruesome. 52:33.079 --> 52:39.189 But Cervantes has embroidered upon it, by making them use 52:39.190 --> 52:44.320 books, instead of heads, or souls, for balls. 52:44.320 --> 52:49.670 The attack on Avellaneda is very funny, but the commentary 52:49.672 --> 52:54.652 on books goes beyond the apocryphal Quixote. 52:54.650 --> 53:00.660 This episode reflects a change in the appraisal of books by the 53:00.663 --> 53:05.613 beginning of the seventeenth century in the west. 53:05.610 --> 53:09.000 Their value has diminished. 53:09.000 --> 53:12.370 It seems to follow an elementary economic law: 53:12.373 --> 53:16.573 with the advent of the printing press the number of books 53:16.570 --> 53:20.410 increased dramatically, and then, the value of each 53:20.414 --> 53:22.574 decreased-- I mean, this is basic 53:22.567 --> 53:25.777 economics--But it is more complicated than that. 53:25.780 --> 53:30.970 Philosophy move toward knowledge as a result of 53:30.967 --> 53:37.167 experience, not as something acquired from authoritative 53:37.170 --> 53:41.570 sources whose works where in books. 53:41.570 --> 53:45.550 In Spain neo-scholasticism, about which you have read in 53:45.545 --> 53:48.155 Elliott, which was a revival of the 53:48.161 --> 53:52.161 medieval philosophy of the church fathers and which relied 53:52.159 --> 53:56.579 on syllogism and the opinion of authoritative sources had become 53:56.576 --> 53:58.746 the ideology of the state. 53:58.750 --> 54:01.910 Neo-scholasticism, doctrine, whatever you want to 54:01.909 --> 54:05.139 call it, and religious, it was the ideology of the 54:05.135 --> 54:06.315 Spanish crown. 54:06.320 --> 54:10.720 Logic argumentation and authorities supplied the 54:10.721 --> 54:13.251 foundations of knowledge. 54:13.250 --> 54:19.700 We have seen something of that, and I mention it in the satire 54:19.699 --> 54:24.009 of doctors, in the person of doctor Pedro 54:24.010 --> 54:27.820 Recio Tirteafuera who says to Sancho, 54:27.820 --> 54:29.880 'you cannot eat this, you cannot eat that,' the 54:29.875 --> 54:32.465 knowledge of medicine at the time was based simply on books 54:32.465 --> 54:33.445 not on experience. 54:33.449 --> 54:37.799 So the situation in the rest of Europe was not as extreme, 54:37.800 --> 54:41.040 by philosophical thought nonetheless rejected bookish 54:41.043 --> 54:44.603 learning in favor of experience and individual thought. 54:44.599 --> 54:48.619 The greatest exponent of this was Descartes, 54:48.619 --> 54:51.799 whom I have mentioned several times in the course of the 54:51.795 --> 54:53.435 semester, and a precursor, 54:53.443 --> 54:56.013 if you wish, although in a milder or lighter 54:56.007 --> 54:59.047 kind of philosophical speculation was Montaigne. 54:59.050 --> 55:06.160 Anthony Grafton, professor at Princeton, 55:06.159 --> 55:14.169 opens the introduction of his magnificent book, 55:14.170 --> 55:17.610 New Worlds, Ancient Texts: the Power 55:17.608 --> 55:22.498 of Tradition and the Shock of Discovery with these words, 55:22.500 --> 55:27.620 quote: "Between 1550 and 1650 western thinkers ceased to 55:27.619 --> 55:32.659 believe that they could find all important truths in ancient 55:32.655 --> 55:34.785 books." Unquote. 55:38.530 --> 55:48.500 55:48.500 --> 55:51.430 who published a very important book, a very comprehensive book 55:51.425 --> 55:53.245 about the history of the New World, 55:53.250 --> 56:03.220 called Historia natural y moral, 56:03.219 --> 56:05.929 "moral" means culture, 56:05.929 --> 56:09.079 "natural" is physical, 56:09.079 --> 56:10.839 the nature and "moral" 56:10.835 --> 56:14.185 means culture, de las Indias. 56:14.190 --> 56:20.600 This book is from the 1590s, 1592, or something like that, 56:20.601 --> 56:22.741 I can't remember. 56:22.739 --> 56:26.889 But he says, he quotes Acosta, 56:26.893 --> 56:31.623 who says the following, quote: 56:31.619 --> 56:35.899 "Having read what poets and philosophers write of the 56:35.898 --> 56:40.478 torrid zone I persuaded myself that when I came to the equator 56:40.476 --> 56:43.696 [he's on a ship on his way to the New World] 56:43.704 --> 56:47.834 I would not be able to endure the heat but it turned out 56:47.833 --> 56:52.133 otherwise, for when I passed the equator I 56:52.126 --> 56:57.296 felt so cold that I was forced to go into the sun to warm 56:57.304 --> 56:58.234 myself. 56:58.230 --> 57:01.620 What could I do, but laugh at Aristotle's 57:01.623 --> 57:03.323 meteorology?" 57:03.320 --> 57:05.410 Says Acosta. 57:05.409 --> 57:09.389 This is mocked, by the way, in chapter XIX of 57:09.385 --> 57:12.295 Part II, in the episode of the enchanted 57:12.297 --> 57:14.827 boat, meaning that the actual 57:14.826 --> 57:19.926 experience of travel demolishes traditional knowledge, 57:19.929 --> 57:23.309 the traditional knowledge being whether Sancho's lice would die 57:23.313 --> 57:25.833 when they cross a certain line, and so forth, 57:25.833 --> 57:28.733 remember all of that is mocked, but this is what is behind it. 57:28.730 --> 57:31.870 Ironically, then, the proliferation of books, 57:31.869 --> 57:36.369 being--at the time, "when the authority of the 57:36.369 --> 57:41.949 book was most severely tested and ultimately devalued." 57:41.949 --> 57:44.889 That is, the proliferation of books takes place at the time 57:44.891 --> 57:47.931 "when the authority of the book was most severely tested 57:47.934 --> 57:49.664 and ultimately devalued." 57:49.659 --> 57:56.419 The ability to read many books did not bring one closer to 57:56.422 --> 58:02.502 wisdom but to an inordinate, perhaps infinite enlargement of 58:02.498 --> 58:06.368 the library and perhaps to Don Quixote's madness. 58:06.369 --> 58:11.739 I believe that this is what is implicit in this marvelous 58:11.744 --> 58:16.164 passage of Altisidora's infernal visitation. 58:16.159 --> 58:20.799 As customary, Cervantes deals with very 58:20.802 --> 58:25.852 complicated issues, in such an unaffected 58:25.853 --> 58:33.283 spontaneous and amusing way that it seems almost like a miracle, 58:33.280 --> 58:39.510 but this is what is behind this episode about books being 58:39.510 --> 58:43.850 whacked with burning flaming rackets. 58:43.849 --> 58:49.999 We will be dealing chiefly with the end of the Quixote in 58:49.996 --> 58:52.336 the last two lectures. 58:52.340 --> 58:58.000