WEBVTT

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Prof: Miguel de
Cervantes died in Madrid on

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April 23rd, 1616.

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Remember that,
famously, Shakespeare died on

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the same date;
not the same day,

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because England and Spain were
following different calendars,

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the difference of two or three
days.

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In the last five years of his
life Cervantes saw published

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The Exemplary Novels,
in 1613, The Voyage to

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Parnassus,
which is a long poem of

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essentially literary criticism,
where he reviews the writers of

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the appeared.

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That appeared in 1614.

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Part II of the Quixote
appeared in 1615,

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and also, in that year,
his volume of theater,

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called Eight Plays and Eight
New Interludes Never before

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Performed.

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In 1617 The Trials of
Persiles y Sigismunda was

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published posthumously.

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Those plays he was able to
publish because of his newly

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acquired fame,
and also because they had not

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been very successful on the
stage,

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except for the interludes.

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Let me repeat a quotation from
the Casebook,

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specifically from the
biographical essay by Manual

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This is a quote that I have
read before, but I want to

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repeat it;
it is a quote that also has

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which I think you may remember
his name in any case--

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we wind up our course.

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But before I read you that
quote, let me read you the

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"Cervantes died in Madrid
on April 23rd,

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1616 at peace with himself and
with the world,

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having received the last
sacraments,

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and was buried in the convent
of the Trinitarian Nuns.

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He died without bitterness or
regrets since he had been fully

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conscious of his merit,
indeed of his genius,

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and was aware that his literary
creations would endure.

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A writer cannot hope for a
greater source of

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consolation."

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Later, constructions and
reconstructions of that building

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by the way led to the
disappearance of Cervantes

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bones.

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So we don't have Cervantes'
relics, his bones are lost.

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I have been insisting on
Cervantes' knowledge of Don

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Quixote's belonging--
awareness of Don Quixote's

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belonging to the gallery of
great literary figures from the

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classical past.

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Most recently,
when, in the last lecture,

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I spoke about that scene in the
last inn where they lodge,

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and there are some wall
hangings with the figures of

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Helen of Troy and Dido,
and Sancho makes the quip that

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there will be images of Don
Quixote,

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of themselves,
of Don Quixote and Sancho all

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everywhere in the future,
and I underline that that is a

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bet that Sancho has certainly
won.

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literature,
and as I said,

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he taught for many years at
Columbia University;

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he was a Spaniard:
"Objectively,

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success story.

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He was seldom in full control,
he was too poor,

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for many years he lacked public
recognition.

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‘there is no reason to
lament [I'm quoting now the

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quote]
Cervantes' misfortunes,

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nor the mediocrity of his daily
life.'

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He could thus through an
experience,

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which is seldom obtained when
the writer is successful and

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wealthy,
he could know,

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observe, and feel the beat of
Spanish life in its greatness

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and in its poverty,
in its heroic fantasy and in

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the sad reality of an imminent
decadence.

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He was to leave in his books
the most faithful image of this

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life,
reflected in multiple

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perspectives with bitter sweet
irony and penetrating

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humor."

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The allusion to decadence here
is that, for many years,

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in the twentieth century
scholars studied the decadence

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of the Spanish empire.

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Remember that quote that I
brought,

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and you must have read as you
read Elliot,

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from Elliot,
about Cervantes straddling

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those two moments of Spanish
history,

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one of great triumph,
and then the beginnings of the

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decline.

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Now, Cervantes never attained
in his time the recognition of

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Lope de Vega,
that writer I've mentioned so

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many times.

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Lope de Vega,
whom Cervantes criticized and

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admired at the same time.

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But Cervantes was a greater
writer than Lope,

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and history has confirmed this
fact.

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Though Lope deserves a place in
the western canon,

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he should not be at the same
level as Cervantes.

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I say that because Lope is
generally not very well known in

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the English-speaking world,
and he's sort of--I don't think

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he even appears in my good
friend Harold Bloom's The

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Western Canon,
but that is not Lope's fault,

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that is Harold's fault.

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Lope never created the figure
of universal appeal like Don

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Quixote.

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Even if he wrote hundreds of
plays,

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perhaps a thousand plays,
many among those plays are

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masterpieces:
Fuenteovejuna,

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El caballero de Olmedo,
and so forth.

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They're masterpieces in their
own right, and Lope created

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thousands of characters.

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This is all true.

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But he was not on the level of
Cervantes.

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Ironically, though,
of course, in the period,

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Lope was tremendously
successful.

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His story is really a success
story: he was rich,

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he had a great following,
and even his name was

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synonymous with being good.

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If you said,
it's "de Lope"

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it means that something is
good;

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so that's how successful he was.

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He just lorded over the Spanish
literary landscape in the early

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seventeenth century.

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He fought in the Spanish
"Armada,"

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he had many women,
mistresses, wives,

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ten or fifteen children,
some of them legitimate,

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and at the end of his life he
became a priest,

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impregnated one of his
mistresses...

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Really a life really worth a
movie.

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In the meantime,
Cervantes was chugging along in

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Madrid,
within blocks of each other in

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Madrid,
but he was creating a work that

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was superior to Lope's.

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Now, the question to ask,
as we draw a balance at the end

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of the course,
is if Cervantes would have

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deserved such recognition if he
had not written the

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Quixote but everything else
that he wrote.

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Would we have such high regard
for Cervantes if he had only

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published the rest of his work,
some of which I mentioned when

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I was listing the books that he
published towards the end of his

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life?

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The answer has to be no,
the answer has to be no;

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not by far, though.

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He would have been acknowledged
as an important writer of short

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novels on the basis of The
Exemplary Novels,

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Novelas ejemplares--I'll
talk about that later.

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He was also the author of a
mediocre pastoral romance,

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Galatea.

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Remember, that he mentions it
in the--

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he has the characters mention
it in the scrutiny of the books,

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and he himself has some
critical things to say about

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that pastoral romance,
and still towards the end of

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his life,
in the very last year,

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he was still thinking of
writing a second part of

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Galatea,
but it was a mediocre work with

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flashes of brilliance that
announced the Quixote,

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but that are important because
of that,

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not in themselves.

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He was also the author of that
very uneven and very ambitious

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Byzantine romance called The
Trials of Persiles y

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Sigismunda.

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I put this on the board several
times, so I don't have to do it

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again.

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This is a very odd work,
as Byzantine romances tend to

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be,
and Cervantes thought,

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he was deluded into thinking
that this was going to be the

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culmination of his work,
his best work.

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Well, he was wrong.

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Authors are often wrong about
the worth of what they write,

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and he certainly was wrong
about this.

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The book is missing most of the
qualities that we admire in

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the Quixote;
it's a very long book.

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It lacks a central figure as
compelling as the mad knight,

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except for some episodes in
Spain that have sort of a

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realistic cast;
the geography is strange and

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abstract;
it begins in the snow and

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icebound regions of the North
Pole and finishes in Rome,

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of course.

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The dialogues are stilted;
they're not like the dialogues

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in the Quixote,
where Sancho speaks in his very

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folksy way;
and it is a very digressive

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novel.

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It has, again,
because Cervantes was the

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author of the Quixote,
some moments that we see as

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being brilliant,
and some odd things that...

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For instance,
the characters carry around

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banner,
like painting,

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depicting their adventures,
so that whenever somebody asks

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them where they have been,
they just unfurl this banner

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and, there is,
their adventures.

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It's very funny that way;
it has moments like that.

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Again, but, as with
Galatea,

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the Persiles is
important because it was written

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by the author of the
Quixote.

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As a playwright,
Cervantes was a master in the

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comic one-act interludes,
the entremeses that I

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have spoken about,
which show many features in

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common with the Quixote,
particularly the funny parts of

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the Quixote,
the slapstick parts of the

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Quixote,
but his plays were stiff and

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neoclassical because Cervantes
followed the rules that the

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preceptistas,
those who had read Aristotle's

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Poetics,
were promoting at the time.

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You remember the discussions
among the characters,

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I think it is chapter XLVIII of
Part I,

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especially involving the Canon
of Toledo,

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about the plays being written
at the time,

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where Cervantes,
through his characters,

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is criticizing Lope for not
following those rules.

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He did, and then his plays were
duds;

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they were just--some are okay,
but they're not that good.

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It is one of those ironies of
literary history that Cervantes

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was so wildly imaginative and
daring in prose fiction,

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was so timid and conservative
when it came to the theater...

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A mystery.

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This is why you cannot just
list authors;

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you have works,
you have to list works,

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when you are making a hit
parade like the one Harold Bloom

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makes in The Western
Canon.

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So the high point of Cervantes'
production other than the

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Quixote was Exemplary
Novels,

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or Stories,
as they're called in the

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translation that you are using.

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This is a terminological
problem that I have explained

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before.

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The word
"novela"

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that we have in Spanish for
novel today, did not exist then.

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"Novela"
was

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"nouvelle,"
that is,

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a short novel,
or a long short story,

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like the ones we have read:
Rinconete and

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Cortadillo,
The Glass Graduate,

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and the ones that are included
in Part I of the Quixote.

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These are the Novelas
ejemplares.

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Some of these short novels are
true masterpieces of the genre

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and can stand next to the
greatest stories by Cervantes'

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Italian predecessors,
of course, Giovanni Boccaccio,

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whom I have mentioned many
times,

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and Matteo Bandello,
whom I have also mentioned

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before.

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Now, I have mentioned them when
we discussed some of these

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novels, mainly The Glass
Graduate and Rinconete

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and Cortadillo.

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Today, I'm going to speak about
The Deceitful Marriage

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and The Dogs Colloquy,
two connected novels that wind

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up the volume of The
Exemplary Novels or

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Exemplary Stories.

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I have trouble saying
Exemplary Stories because

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it's just not stories,
it's novels,

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or short novels.

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So I may waiver,
but you know what I mean,

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it's Novelas ejemplares
in Spanish,

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not Exemplary Stories.

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Now, as we approach these two
novels, we have to return to the

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picaresque.

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Now, let me summarize the
reasons why the picaresque was

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so important in the development
of prose fiction and repeat

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myself,
unless you think that I am

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arbitrarily obsessed with this
kind of literature.

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It's just that it is truly very
important for the development of

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the novel.

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Now, in the picaresque there is
for the first time,

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except for
Celestina--but

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Celestina was a dialogue,
a dramatic dialogue.

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It was not a story with a
narrator,

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and so forth--so in the
picaresque there is,

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for the first time,
the representation of every day

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life and common people,
with an emphasis on poor people

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engaged in the struggle for
existence,

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in a setting that is
contemporaneous with the author

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and the reader;
both the author and the reader

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recognize the setting as being
their own.

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It's the present.

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There is no fancy far away
geography, as in the romances of

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chivalry, or the Byzantine
romances;

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there is no remote time,
like the magical time of

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fantastic stories;
the picaresque novels take

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place in the here and now.

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The protagonist is no hero by
conventional literary standards.

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On the contrary,
he or she, because there are

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feminine picaresques,
and we're going to be talking

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about one today,
is a minor criminal in trouble

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with the law,
and, in fact,

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the center conceit of novels
like Lazarillo de Tormes

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is a confession or deposition
addressed by the accused

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delinquent to a figure in
authority.

18:00.900 --> 18:05.000
So the picaresque is an
indictment of society written in

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the form of the legal documents,
used by the authorities to

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We saw how Don Quixote and
Sancho themselves are fugitives

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from justice and are finally
apprehended by the trooper of

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the Holy Brotherhood,
that funny trooper of the Holy

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Brotherhood who cannot read very
well,

18:28.828 --> 18:31.618
if you remember that hilarious
scene from Part I.

18:31.618 --> 18:35.508
The picaresque makes possible
for the novel to depict

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contemporary society and common
social types,

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such as the ones appearing and
acquiring relevance in the

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sixteenth and seventeenth
century,

18:45.818 --> 18:50.118
as it is the beginnings of what
is a leveling of society that is

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moving towards the eighteenth
century and the nineteenth

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century,
and revolutions,

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and so forth,
that we are very familiar with.

18:57.818 --> 19:01.268
So these characters begin to
appear in novels,

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as well as in paintings,
if you remember the paintings

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Rafael Salillas,
whom I have mentioned before

19:10.615 --> 19:15.495
but I want to mention again,
Rafael Salillas,

19:15.502 --> 19:22.582
a brilliant Spanish
criminologist of the late

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nineteenth and early twentieth
century,

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claimed that the picaresque was
the origin of the social

19:34.695 --> 19:38.455
sciences,
specifically sociology and

19:38.455 --> 19:39.765
criminology.

19:39.769 --> 19:43.379
That is, sociology and
criminology find their source in

19:43.378 --> 19:47.048
these kinds of novels,
these kinds of picaresque

19:47.051 --> 19:51.381
novels that depict the lower
strata of society in great

19:51.377 --> 19:52.177
detail.

19:52.180 --> 19:59.570
He includes Cervantes' work
among those works that he places

19:59.573 --> 20:04.463
at the origin of the social
sciences.

20:04.460 --> 20:08.880
So it is, to me,
very suggestive,

20:08.884 --> 20:12.484
then,
that Cervantes chose to wind up

20:12.477 --> 20:16.567
his volume of Exemplary
Novels with these two

20:16.570 --> 20:19.380
stories in the picaresque style.

20:19.380 --> 20:23.360
Not picaresque per se,
because Cervantes never wrote a

20:23.364 --> 20:26.024
picaresque novel in the strict
sense,

20:26.019 --> 20:31.739
but novels with a picaresque
ambience and cast of characters.

20:31.740 --> 20:37.170
Remember, this is a book you
only have a selection in your

20:37.167 --> 20:39.927
book of translated stories.

20:39.930 --> 20:44.350
The volume consists of a
prologue, parts of which are

20:44.348 --> 20:48.858
included in my essay in the
Casebook about self

20:48.855 --> 20:52.165
portraits, and then twelve
stories.

20:52.170 --> 20:55.490
Remember, I talked about that
number because if The

20:55.493 --> 20:57.943
Pretended Aunt was by
Cervantes,

20:57.940 --> 21:00.350
maybe he didn't include it
because he didn't want the

21:00.354 --> 21:01.194
number thirteen.

21:01.190 --> 21:04.920
But in any case,
there are twelve stories and

21:04.917 --> 21:07.167
these two,
The Deceitful Marriage

21:07.171 --> 21:08.881
and The Dogs Colloquy are
the end,

21:08.880 --> 21:11.140
The Deceitful Marriage
and The Dogs Colloquy,

21:11.136 --> 21:12.496
and that's the end of the
volume.

21:12.500 --> 21:16.520
The order of stories in such a
volume is always significant.

21:16.519 --> 21:22.379
So, to me, it is significant
that the volume should end with

21:22.376 --> 21:26.846
these two stories,
these interlocking stories,

21:26.845 --> 21:27.635
too.

21:27.640 --> 21:31.990
Now, as we saw with Roque
Guinart,

21:36.029 --> 21:39.779
the galley slave,
and then later master

21:39.777 --> 21:44.077
puppeteer,
and Monipodio in Rinconete

21:44.076 --> 21:48.176
and Cortadillo,
Cervantes often pains a

21:48.180 --> 21:51.520
sympathetic portrait of criminal
types.

21:51.519 --> 21:55.099
At least, he never paints one
that is one-sidedly negative,

21:55.104 --> 21:58.384
and he seems to have a liking
for these characters.

21:58.380 --> 22:01.870
One reason may be that,
like Don Quixote,

22:01.868 --> 22:04.268
who is also a delinquent--as we
know--

22:04.269 --> 22:07.549
they represent original ways of
life,

22:07.548 --> 22:11.098
different from mainstream
society, hence,

22:11.098 --> 22:14.548
more interesting and appealing
from a literary point of view.

22:14.548 --> 22:17.208
If you are good,
you're not interesting to

22:17.211 --> 22:19.291
literature, for the most part.

22:19.288 --> 22:22.118
So these criminal types are
interesting because they are

22:22.115 --> 22:24.475
criminals, and they're
different, and they have

22:24.479 --> 22:26.739
different lives that are quite
original.

22:32.022 --> 22:34.892
and all of that,
because they are interesting,

22:34.887 --> 22:35.777
different.

22:35.779 --> 22:42.089
Also, criminal life--and this
would go back to Salillas--

22:42.088 --> 22:46.728
could represent the origins of
societal of norms or how

22:46.727 --> 22:52.157
societal norms develop,
norms that emerge out of the

22:52.164 --> 22:55.974
clash of instincts,
desires, laws,

22:55.971 --> 23:00.181
and so forth,
and this is why the criminals

23:00.176 --> 23:02.076
are interesting.

23:02.078 --> 23:05.018
If you follow the law and all
of that, you're not very

23:05.021 --> 23:05.801
interesting.

23:05.798 --> 23:10.098
The penchant for criminal types
found in the picaresque and in

23:10.104 --> 23:14.624
Cervantes is something that will
become a staple of the novel;

23:14.618 --> 23:19.478
especially the nineteenth
century novel is peopled by

23:19.481 --> 23:23.041
criminals of all kind,
interesting,

23:23.036 --> 23:27.596
sometimes appealing criminals
of all kinds,

23:27.599 --> 23:29.229
like Jean Valjean, and so forth.

23:29.230 --> 23:35.430
So we move to these stories,
The Deceitful Marriage,

23:38.250 --> 23:41.210
Dogs Colloquy,
El coloquio de los

23:41.209 --> 23:42.179
perros.

23:42.180 --> 23:43.910
Now, notice that these two
stories,

23:43.910 --> 23:47.440
one implanted into the other,
as it were,

23:47.440 --> 23:50.450
follow the narrative device
called "the framed

23:50.445 --> 23:53.755
tale," that is,
the tale within the tale.

23:53.759 --> 23:57.729
It's a device that goes back to
the origins of story telling in

23:57.726 --> 24:00.986
the Thousand and One Nights,
for instance.

24:00.990 --> 24:06.970
Now, it allows Cervantes to
finish his volume of stories

24:06.965 --> 24:13.265
with one of his cherished
infinitely receding sequences.

24:13.269 --> 24:16.259
Remember, we've spoken about
these infinitely receding

24:16.257 --> 24:18.567
sequences,
one within the other,

24:18.565 --> 24:21.465
within the other,
within the other,

24:21.469 --> 24:25.299
I often use the example of the
little boy,

24:25.298 --> 24:27.838
as I remember myself sitting in
a barber chair,

24:27.838 --> 24:30.138
surrounded by mirrors,
and then seeing myself

24:30.137 --> 24:32.957
disappear in the distance all
the images of myself,

24:32.960 --> 24:39.030
and also the can of evaporated
milk that has depicted a can,

24:39.029 --> 24:41.049
and so forth,
and so on, so this is what the

24:41.048 --> 24:44.598
device is,
a story within the story.

24:44.598 --> 24:50.138
They are like Chinese boxes,
one inside the other.

24:50.140 --> 24:53.690
It is a form of closure,
if we're thinking that they

24:53.692 --> 24:58.082
close or they finish the book
that denies closure as it were.

24:58.078 --> 25:01.398
The volume is opened ended,
but it's open ended sort of

25:01.398 --> 25:03.698
open on to itself,
there could be more,

25:03.701 --> 25:05.421
and more, and more stories
down,

25:05.420 --> 25:06.750
if you dug deeper into these
stories.

25:06.750 --> 25:10.690
There could be yet another
story which,

25:10.690 --> 25:16.310
indeed, there is one story that
is virtual or postponed in the

25:16.314 --> 25:19.584
second story,
The Dogs Colloquy,

25:19.578 --> 25:23.658
because the story of one of the
dog's life is not told,

25:23.660 --> 25:25.080
so this is what I mean.

25:25.078 --> 25:30.338
When I wrote an essay on this
many years ago I called it

25:30.336 --> 25:36.066
"The Life of Scipio,"
saying that my essay was sort

25:36.069 --> 25:42.569
of like the telling of this life
that was not told in the story.

25:42.568 --> 25:46.488
Now, in The Deceitful
Marriage,

25:46.494 --> 25:52.224
marriage is deconstructed,
as it were, both as a social

25:52.224 --> 25:56.474
institution and as a narrative
tool.

25:56.470 --> 26:00.620
We should read the story
against the backdrop of all of

26:00.624 --> 26:04.704
the stories about marriage that
we have read in the

26:04.701 --> 26:08.321
Quixote,
and also in the context of

26:08.319 --> 26:10.719
The Pretended Aunt.

26:10.720 --> 26:15.180
In fact, The Deceitful
Marriage is a story of

26:15.178 --> 26:20.598
Cervantes that comes closest in
salaciousness to that contested

26:20.597 --> 26:23.517
story,
The Pretended Aunt.

26:23.519 --> 26:26.969
That is, it's the dirtiest of
Cervantes' stories,

26:26.969 --> 26:30.489
if The Pretended Aunt is
not Cervantes'.

26:30.490 --> 26:36.420
I'm sure you will agree with
me, and you will agree more with

26:36.421 --> 26:39.981
me once you hear my reading of
it.

26:44.436 --> 26:48.796
is a proactive female;
protagonist,

26:48.795 --> 26:53.065
a female protagonist,
like others in Cervantes:

26:53.073 --> 26:55.773
Dorotea, Marcela,
Zoraida.

26:55.769 --> 27:00.819
Who charts her own course and
follows it with cunning and with

27:00.820 --> 27:01.650
courage.

27:01.650 --> 27:06.590
Of course, she is a prostitute,
but she is a proactive female

27:06.586 --> 27:08.806
protagonist of Cervantes.

27:08.808 --> 27:16.458
She dupes ensign Campuzano
luring him with her beauty and

27:16.460 --> 27:24.110
pretended wealth--we could call
it--to whit her house.

27:24.108 --> 27:27.058
Notice the detail,
I told you to look for details

27:27.057 --> 27:27.977
in Cervantes.

27:27.980 --> 27:30.810
How does she lure the ensign?

27:30.808 --> 27:34.048
She has beautiful hands,
and that is the first thing

27:34.054 --> 27:36.794
that the ensign notices when he
sees her.

27:36.788 --> 27:40.528
Cervantes has sort of a fetish
for hands, and feet,

27:44.565 --> 27:46.355
has beautiful hands.

27:46.358 --> 27:50.328
She traps him into marrying
her, but then it turns out she

27:50.329 --> 27:52.629
was not the owner of the house.

27:52.630 --> 27:57.450
That the true proprietors come
back and she scampers with the

27:57.445 --> 28:01.535
jewels with which she thought he
had fooled her--

28:01.538 --> 28:06.218
he thought that he had fooled
her, because he boasts that

28:06.221 --> 28:10.071
they're counterfeit anyway,
the jewels that she steels.

28:10.068 --> 28:15.438
It turns out,
however, that she had the last

28:15.443 --> 28:18.743
laugh,
because she had infected him

28:18.740 --> 28:22.950
with syphilis,
a kind of delayed action

28:22.948 --> 28:28.598
counterblow,
by which she wins again.

28:36.140 --> 28:40.150
her modus operandi,
and that the ensign was neither

28:40.154 --> 28:42.414
her first nor her last victim.

28:42.410 --> 28:46.830
The cousin, the so-called
cousin, who's present at this

28:46.834 --> 28:49.624
wedding, was obviously her pimp.

28:49.618 --> 28:54.538
Well, not obviously,
Cervantes doesn't make things

28:54.544 --> 28:57.764
that obvious,
but it is there.

28:57.759 --> 28:59.489
Who was this guy?

28:59.490 --> 29:06.410
Well, this guy is obviously her
pimp, and this is a routine that

29:06.413 --> 29:12.243
they use to ensnare guys like
the ensign Campuzano.

29:12.240 --> 29:16.160
He, of course,
thinks that he's also going to

29:16.164 --> 29:19.724
have a good time,
and that he's going to fool

29:19.715 --> 29:23.575
her, because he's making plans
to scamper and go back to war

29:23.577 --> 29:26.257
once he has had enough of a good
time.

29:26.259 --> 29:31.309
What is of interest to me in
the story is how Cervantes has

29:31.310 --> 29:34.360
manipulated literary
conventions.

29:34.358 --> 29:38.958
The story begins with a
marriage, virtually,

29:38.960 --> 29:41.930
that is, it begins where
stories normally end,

29:41.930 --> 29:46.290
and works backwards,
to undue a union that never

29:46.288 --> 29:50.528
took place legitimately;
it is a marriage into which

29:50.525 --> 29:54.105
they enter presumably without
pretense or illusions.

29:54.108 --> 30:00.308
She tells him that she's no
virgin and that she has had her

30:00.314 --> 30:02.914
life,
and this and that,

30:02.910 --> 30:05.930
he doesn't care,
and he, of course,

30:05.930 --> 30:08.990
is not a wealthy aristocrat by
any means,

30:08.990 --> 30:10.680
and they know,
so they enter presumably

30:10.684 --> 30:12.474
without illusions into this
marriage,

30:12.470 --> 30:16.540
but the marriage,
of course, is based on worse

30:16.540 --> 30:18.170
forms of deceit.

30:18.170 --> 30:23.000
It also ends with an inversion
at the end that should have been

30:23.000 --> 30:27.210
a beginning: the man is fooled,
and the woman flees.

30:27.210 --> 30:30.640
In traditional stories,
it is the opposite:

30:30.643 --> 30:34.653
the woman is fooled and the
man, the guy flees.

30:34.650 --> 30:38.490
Marriages, as we have seen
throughout the semester,

30:38.490 --> 30:41.640
are normally how stories end,
I repeat.

30:41.640 --> 30:44.900
They bring closure to the
action representing the

30:44.901 --> 30:48.911
restoration of order and the
continuation of the species.

30:48.910 --> 30:52.010
Here, however,
Cervantes has inverted the

30:52.005 --> 30:55.405
formula, the story begins with a
marriage.

30:55.410 --> 30:59.500
As we have seen,
and I have said many times,

30:59.500 --> 31:01.700
perhaps too many times
throughout the semester,

31:01.700 --> 31:05.340
and it's not a warning to you,
everything that happens before

31:05.337 --> 31:08.247
marriage is the stuff of comedy
in Cervantes,

31:08.250 --> 31:10.340
everything that happens after
marriage is the stuff of

31:10.336 --> 31:10.726
tragedy.

31:10.730 --> 31:17.000
But here, surely because the
marriage is phony,

31:16.998 --> 31:22.038
what follows is comical,
and worse.

31:22.038 --> 31:25.028
The marriage,
by the way, would have been

31:25.034 --> 31:30.204
annulled under Spanish law,
and even church canon law had

31:36.256 --> 31:40.186
she was not the owner of the
house,

31:40.190 --> 31:41.280
and so forth.

31:41.279 --> 31:44.149
But he could not sue her
because he,

31:44.150 --> 31:45.970
too, had misrepresented his
wealth,

31:45.970 --> 31:51.820
the jewels were counterfeit,
and he also had plans to quit

31:51.817 --> 31:55.407
the premises as soon as he
could.

31:55.410 --> 32:00.020
Now, the emblem of all of these
deceits is the house,

32:00.019 --> 32:03.039
which should have,
on the contrary,

32:03.035 --> 32:06.755
or normally,
provided the foundation of the

32:06.759 --> 32:08.089
marriage.

32:08.088 --> 32:12.418
It is in the house that they
spend a brief period of

32:12.421 --> 32:14.121
matrimonial bliss.

32:20.058 --> 32:23.898
Legally and traditionally the
house is the concrete site of

32:23.903 --> 32:27.833
marriage,
and in Spanish the word for

32:27.826 --> 32:33.506
marriage,
the word that is in the title

32:33.513 --> 32:40.673
of the story is
"casamiento."

32:40.670 --> 32:44.010
"Casa"
means "house"

32:44.009 --> 32:44.829
in Spanish.

32:44.828 --> 32:46.458
I like to add
"casa-

32:46.461 --> 32:49.201
miento"
means "house-I-lie";

32:49.200 --> 32:51.260
"miento"
from "mentir,"

32:51.257 --> 32:52.467
"to lie,"
in Spanish;

32:52.470 --> 32:55.330
it's a phony etymology that I
makeup.

32:55.328 --> 32:59.398
It's also one of those things
that language--

32:59.400 --> 33:02.880
gifts that language makes to
humor,

33:02.880 --> 33:05.820
and the word for
"wife"

33:05.816 --> 33:08.096
in Spanish,
as you probably know,

33:08.097 --> 33:11.317
is "esposa,"
which is also the word for

33:11.317 --> 33:12.777
"handcuffs."

33:12.778 --> 33:19.738
I didn't invent the language,
and it is also a false

33:19.740 --> 33:21.380
etymology.

33:21.380 --> 33:27.780
In any case,
so the house is the emblem of

33:27.782 --> 33:34.032
this house, casa-miento,
I lie.

33:34.029 --> 33:41.439
The plot of The Deceitful
Marriage is indeed very,

33:41.440 --> 33:44.970
very disturbing,
because it leads to total

33:44.974 --> 33:48.864
disorder,
to a disillusion of the social

33:48.855 --> 33:52.055
pact,
the social contract altogether,

33:52.059 --> 33:52.879
it seems.

33:52.880 --> 33:58.680
This is why I find it such a
disturbing story.

33:58.680 --> 34:02.030
Husband and wife
disappear--they are not really

34:02.031 --> 34:05.981
husband and wife--
one never to be heard from

34:09.340 --> 34:11.740
she has to vanish,
like the galley slaves,

34:11.739 --> 34:14.399
because probably the
authorities are after her,

34:14.400 --> 34:21.130
and he winds up in the hospital
with a social disease from which

34:21.132 --> 34:24.342
most people never recovered.

34:24.340 --> 34:28.470
It is as if the story,
with this formal play of

34:28.469 --> 34:32.059
inversions is hinting not at
tragedy,

34:32.059 --> 34:36.269
but at something perhaps worse,
if that is possible,

34:36.268 --> 34:41.358
the disappearance of old bones,
the unraveling of the discourse

34:41.358 --> 34:45.378
that hold human society together
and organized.

34:45.380 --> 34:49.180
This is what is hinted at,
by this very disturbing story.

34:49.179 --> 34:53.619
Indeed, what follows is the
story of the ensign Campuzano in

34:53.615 --> 34:56.895
the hospital,
and the hallucination that

34:56.904 --> 34:59.794
leads him to write the next
story,

34:59.789 --> 35:01.989
The Dogs Colloquy.

35:01.989 --> 35:05.389
It is ironic,
in a way that I find more

35:05.393 --> 35:10.053
bitter than is normal in
Cervantes that what leads to

35:10.052 --> 35:15.162
literary creation here is not
just a social disease,

35:15.159 --> 35:20.599
but the disease of love,
called at the time--

35:20.599 --> 35:22.349
syphilis--was called at the
time in Spanish,

35:23.922 --> 35:25.222
"the French disease."

35:25.219 --> 35:29.939
I don't know why the Spanish
always blame the French for

35:29.936 --> 35:32.936
everything having to do with
sex.

35:32.940 --> 35:40.690
The love madness of courtly
love poets is literalized here,

35:40.688 --> 35:45.898
love madness,
this is a love disease.

35:45.900 --> 35:49.770
It literalizes a venereal
illness.

35:54.904 --> 35:59.014
ensign's child;
it is the product of their

35:59.010 --> 36:01.010
deceitful marriage.

36:01.010 --> 36:07.820
This is I find a very
disturbing suggestion.

36:07.820 --> 36:12.510
So we move to The Dogs
Colloquy.

36:12.510 --> 36:17.580
Let me begin by considering the
names of the dogs,

36:22.342 --> 36:25.242
the picaresque Berganza.

36:25.239 --> 36:27.129
These are the two dogs.

36:27.130 --> 36:30.630
Historically,
there were two Scipios,

36:30.630 --> 36:34.490
the one who took and destroyed
Carthage,

36:34.489 --> 36:37.949
and his son,
who destroyed the Spanish town

36:37.952 --> 36:42.202
of Numancia,
an event on which Cervantes

36:42.195 --> 36:46.645
based perhaps his most
successful play.

36:46.650 --> 36:48.430
So he knew well about Scipio.

36:48.429 --> 36:55.179
Berganza is derived from
"bergante,"

36:55.182 --> 36:59.602
slightly old-fashioned word
now.

36:59.599 --> 37:07.999
"Bergante"
is a rogue, a rascal,

37:07.996 --> 37:15.516
whereas, of course,
Scipio is a heroic name,

37:15.516 --> 37:21.986
the name of a military
commander.

37:21.989 --> 37:27.329
The two dogs make up a pair,
like Don Quixote and Sancho,

37:27.327 --> 37:31.707
if you think of it,
the sort of picaresque type

37:31.713 --> 37:35.243
Berganza and the military
Scipio.

37:35.239 --> 37:38.119
Scipio's life,
the one not told,

37:38.121 --> 37:42.681
is suggested that could have
been another Quixote,

37:42.675 --> 37:47.225
but in a different key,
a Quixote in a canine key,

37:47.228 --> 37:48.808
as it were.

37:48.809 --> 37:55.439
It would be a mock heroic dog's
life, we could call it.

37:55.440 --> 37:59.170
It's just suggested.

37:59.170 --> 38:03.860
Now, ensign Campuzano's
predicament linking illness and

38:03.864 --> 38:07.214
creativity is a spoof,
as I have said,

38:07.211 --> 38:11.821
of the sick lover poet able to
compose poetry because of his

38:11.822 --> 38:12.842
condition.

38:12.840 --> 38:17.900
This will become a romantic
trope, only that here it is this

38:17.903 --> 38:22.883
illness is dramatically and
literally an illness of love of

38:22.882 --> 38:24.602
the lowest kind.

38:24.599 --> 38:30.809
Remember, that the only cure,
other than some potions and

38:30.809 --> 38:36.359
stuff, is to let him sweat it
out in this hospital,

38:36.355 --> 38:40.675
and some survive,
but not too many.

38:40.679 --> 38:43.339
Notice also,
the ironic name of the

38:43.342 --> 38:46.712
hospital, I don't know if you
noticed it.

38:49.719 --> 38:53.839
Hospital of the Resurrection
and this is out of--

38:53.840 --> 38:57.720
through a kind of resurrection
ensign Campuzano comes out after

38:57.719 --> 39:04.209
he has sweated out his syphilis,
or at least part of his

39:04.210 --> 39:06.080
syphilis.

39:06.079 --> 39:11.259
Now, Cervantes skirts here the
supernatural in the story,

39:11.255 --> 39:14.025
the idea that dogs can talk.

39:14.030 --> 39:17.000
The supernatural never appears
in Cervantes' works,

39:17.000 --> 39:21.820
but he leaves open here the
possibility that the story of

39:21.815 --> 39:26.625
the dogs talking is merely a
hallucination on the part of

39:26.630 --> 39:32.040
Campuzano,
who's ill, and in his illness

39:32.041 --> 39:36.021
and fever he imagines this.

39:36.018 --> 39:39.068
It can also be a literary rouse
on the part of the ensign;

39:39.070 --> 39:43.870
I mean, it is the character
within the story who is making

39:43.869 --> 39:46.479
this up, Cervantes would say.

39:46.480 --> 39:48.160
He wants to live in an
ambiguous state,

39:48.159 --> 39:49.839
the origin of his literary
creation.

39:49.840 --> 39:54.140
To me it is very suggestive.

39:54.139 --> 39:58.649
I don't know if you found it
so, that he falls asleep while

39:58.646 --> 40:02.306
his lawyer friend,
called Graduate Peralta in your

40:02.311 --> 40:05.051
translation,
licenciado Peralta,

40:05.050 --> 40:07.810
it means a lawyer;
he is a graduate in law.

40:07.809 --> 40:12.109
I find it very suggestive that
the author falls asleep while

40:12.110 --> 40:14.370
Peralta is reading his story.

40:14.369 --> 40:19.679
As well, I mean it's also very
significant that the reader is

40:19.684 --> 40:23.404
someone, a lawyer,
trained to read text and

40:23.403 --> 40:26.153
ascertain the truthfulness.

40:26.150 --> 40:30.920
This is sort of an ironic
reading scene,

40:30.923 --> 40:38.763
no, the lawyer reading this to
tell whether it is true or not.

40:38.760 --> 40:45.520
Now, on one level it is as if
the text belongs to the realm of

40:45.521 --> 40:48.731
dreams,
the fact that he's sleeping,

40:48.728 --> 40:53.298
and it is as if the reader is
tapping directly into his dreams

40:53.300 --> 40:54.800
as he's sleeping.

40:54.800 --> 40:58.240
It occurs to me,
because its author is asleep

40:58.242 --> 41:00.122
while it's being read.

41:00.119 --> 41:04.509
On another, it is as if there
is a gap between creator and the

41:04.505 --> 41:08.455
text needed for the reader to
judge it independently.

41:08.460 --> 41:11.180
That is, he's asleep,
he's no longer in control of

41:11.182 --> 41:13.292
the text,
the text is now in the hands of

41:13.286 --> 41:15.316
the reader,
and it is for the reader to

41:15.315 --> 41:17.265
determine whether it is true or
not;

41:17.269 --> 41:21.699
this is why he is asleep.

41:21.699 --> 41:25.339
Of course, this is also a way
of having him do something while

41:25.336 --> 41:26.646
the other one reads.

41:26.650 --> 41:29.950
The other way would have been
to have him go to the market or

41:29.954 --> 41:31.594
something,
but I think this is much more

41:31.590 --> 41:34.440
interesting and suggestive,
the fact that he falls asleep.

41:34.440 --> 41:38.040
I like to think of it as that
the reader is tapping directly

41:38.039 --> 41:40.419
into his subconscious as he's
asleep.

41:40.420 --> 41:46.060
Now, Peralta,
in a way, is a stand in for us,

41:46.056 --> 41:47.846
the readers.

41:47.849 --> 41:51.429
He offers a literary judgment
at the end,

41:51.429 --> 41:55.739
pronouncing the story good,
though hardly believable,

41:55.739 --> 41:59.499
and encouraging his friend to
go ahead and write the next

41:59.500 --> 41:59.970
life.

41:59.969 --> 42:03.149
Notice, in the context of my
discussion of the ending of

42:03.150 --> 42:05.580
the Quixote in the last
lecture,

42:05.579 --> 42:09.279
that life in here is the shape
of the story:

42:09.278 --> 42:11.428
a life,
the life of Berganza,

42:15.000 --> 42:15.800
of Scipio.

42:15.800 --> 42:19.950
It is also, of course,
following in that the shape of

42:19.952 --> 42:24.502
the picaresque that we saw when
we discussed the figure of

42:29.079 --> 42:31.849
prison, and so forth,
and so on.

42:31.849 --> 42:36.239
Now, there is more than a hint,
too, that the story that the

42:36.237 --> 42:40.027
ensign tells or writes through
the dog is an encoded

42:40.030 --> 42:41.370
autobiography.

42:41.369 --> 42:45.979
This is a picaresque
autobiography in which the

42:50.389 --> 42:57.429
It's very ingenious and
inventive turn on Cervantes'

42:57.432 --> 42:58.402
part.

42:58.400 --> 43:02.590
Why is it autobiographical?

43:02.590 --> 43:05.440
Particularly,
because when he takes the

43:05.443 --> 43:10.253
manuscript from his pocket he
takes it out of his seno.

43:10.250 --> 43:12.410
"Seno"
means his "bosom";

43:12.409 --> 43:19.059
he's taking it out of his heart
in a way, so this suggests to me

43:19.056 --> 43:25.486
that this is ensign Campuzano's
story, but told deflected into

43:25.492 --> 43:28.132
the life of this dog.

43:28.130 --> 43:35.060
It is very interesting that
literature issues out of these

43:35.063 --> 43:39.933
tawdry living conditions and
figures,

43:39.929 --> 43:43.269
literary creation,
as it did in the case of

43:48.369 --> 43:51.349
in prison,
and also in the case of

43:51.353 --> 43:56.313
Cervantes himself who's life,
if not quite as tawdry,

43:56.306 --> 44:01.386
sometimes was like that when he
was a prisoner,

44:01.389 --> 44:06.779
a captive, in Algiers,
and the couple of times when he

44:06.780 --> 44:12.990
was really in jail in Spain for
irregularities in his accounts

44:12.987 --> 44:18.277
when he was collecting for the
Spanish Armada,

44:18.277 --> 44:20.207
and so forth.

44:20.210 --> 44:26.980
So I think this is Cervantes'
take on the origins of modern

44:26.981 --> 44:31.851
literature;
it originates in these

44:31.847 --> 44:38.237
conditions and out of figures
like these.

44:38.239 --> 44:44.709
Now, the point is that he's
showing the virtual workings of

44:44.706 --> 44:50.616
the literary imagination,
which deflects the real and the

44:50.623 --> 44:54.323
tawdry or the seedy life of the
ensign,

44:54.320 --> 44:57.290
and deflect it into the life of
the dog,

44:57.289 --> 45:01.869
which has a slightly classical
form because of the fables where

45:01.865 --> 45:03.575
dogs speak,
and so forth,

45:03.581 --> 45:05.261
that are mentioned in the text.

45:05.260 --> 45:11.260
Now, the uncertain origin of
the dogs who could also be the

45:11.255 --> 45:17.165
transformed sons of that witch,
in that marvelous scene with

45:17.170 --> 45:20.770
the witches that I am sure you
remember,

45:20.768 --> 45:25.178
and that allude or harken back
to Celestina,

45:25.179 --> 45:32.749
or they could have been simply
dogs born, where?

45:32.750 --> 45:36.430
in the slaughterhouse of
Seville, remember,

45:36.429 --> 45:40.629
Seville is the capital of
picaresque life and the

45:40.634 --> 45:45.804
slaughterhouse seems to be the
capital within the capital of

45:45.802 --> 45:47.732
picaresque life.

45:47.730 --> 45:52.890
But it also--Cervantes' is also
leaving the origin of the story

45:52.894 --> 45:57.314
in an air of indeterminacy,
sort of like Don Quixote's

45:57.309 --> 45:58.309
origins.

45:58.309 --> 46:03.429
I think that the significance
of the ending of the story,

46:03.429 --> 46:07.529
again, back to the infinitely
receding sequences,

46:07.530 --> 46:11.090
is that it brings about no
closure at all to the volume.

46:11.090 --> 46:19.300
So we make a little digression
here before we get towards the

46:19.297 --> 46:25.447
end of the lecture to discuss
Kafka's parable,

46:25.452 --> 46:30.242
that I hope you read for today.

46:30.239 --> 46:35.479
Kafka, 1883-1924 as we all know
as a Czech author who wrote in

46:35.478 --> 46:40.288
German such masterpieces as
The Metamorphoses,

46:40.289 --> 46:43.819
1915, The Trial,
1925, The Castle,

46:43.822 --> 46:48.032
1926 in which he presented a
world ruled by arbitrary and

46:48.032 --> 46:53.042
mysterious bureaucratic laws,
by which the characters seem to

46:53.041 --> 46:55.731
abide impelled by obscure
forces.

46:55.730 --> 46:58.950
He never published his work,
which he ordered that it be

46:58.949 --> 47:02.169
destroyed upon is death,
a wish that fortunately was not

47:02.168 --> 47:02.928
followed.

47:02.929 --> 47:08.519
I think that this brief text,
it's just a paragraph shows to

47:08.519 --> 47:11.889
what extent Kafka,
I think, connected with the

47:11.891 --> 47:14.041
core of Cervantes' literary
imagination,

47:14.039 --> 47:20.859
with Cervantes' notion and feel
for literary creativity.

47:20.860 --> 47:24.040
The text is entitled,
"The Truth about Sancho

47:24.038 --> 47:27.678
Panza" and it says:
"Without making any boast

47:27.675 --> 47:29.935
of it,
Sancho Panza succeeded in the

47:29.938 --> 47:33.518
course of years by feeding him a
great number of romances of

47:33.519 --> 47:37.039
chivalry and adventure in the
evening and night hours,

47:37.039 --> 47:40.349
in so diverting from himself
his demon,

47:40.349 --> 47:44.029
whom he later called Don
Quixote, that this demon

47:44.030 --> 47:48.400
thereupon set out uninhibited on
the maddest exploits,

47:48.400 --> 47:51.520
which however for the lack of a
pre ordained object which should

47:51.516 --> 47:54.746
have been Sancho Panza himself,
harmed nobody.

47:54.750 --> 47:58.660
A free man Sancho Panza
resignedly followed Don Quixote

47:58.663 --> 48:01.493
in his crusades,
perhaps out of a sense of

48:01.487 --> 48:05.197
responsibility and had of them a
great and edifying entertainment

48:05.197 --> 48:07.107
to the ends of his days."

48:07.110 --> 48:09.850
That's the parable on the truth
of Sancho Panza.

48:09.849 --> 48:13.629
So I think that Kafka is
turning Cervantes' fiction

48:13.626 --> 48:16.156
upside down,
but within the spirit of

48:16.159 --> 48:18.929
Cervantes,
by making Sancho the inventor

48:18.925 --> 48:22.625
of Don Quixote and following him
around afterwards.

48:22.630 --> 48:26.230
The whole fiction comes out of
Sancho's demon,

48:26.230 --> 48:28.090
that is, the demon of a common
man,

48:28.090 --> 48:32.520
like those, both Kafka and
Cervantes like to invent--

48:32.518 --> 48:34.818
The Glass Graduate,
for example,

48:34.820 --> 48:39.570
is another common man--and also
like other authors in Cervantes,

48:39.570 --> 48:41.990
Sancho's creation gets out of
hand,

48:41.989 --> 48:45.689
and acquires a life of its own.

48:45.690 --> 48:48.510
I think this is Kafka's reading
of Cervantes,

48:48.510 --> 48:52.420
I think it is a very profound
reading even if it is or perhaps

48:52.418 --> 48:54.148
because it is so brief.

48:54.150 --> 49:00.160
I also wish to mention the
Borges story,

49:00.159 --> 49:02.629
Pierre Menard,
Author of the Quixote,

49:02.630 --> 49:05.570
which is one of the most famous
stories by Borges,

49:05.570 --> 49:09.370
in which, as you remember,
this French poet,

49:09.369 --> 49:12.069
minor poet, decides to rewrite
the Quixote,

49:12.070 --> 49:14.300
not just rewrite the
Quixote,

49:14.300 --> 49:17.510
but word by word,
as Cervantes had written it,

49:17.510 --> 49:21.270
the idea being that it is much
more difficult to write the

49:21.273 --> 49:24.163
Quixote in seventeenth
century Spanish,

49:24.159 --> 49:28.979
especially by a Frenchman than
it was for Cervantes to write in

49:28.983 --> 49:31.223
his own time,
and so forth.

49:31.219 --> 49:34.139
It is a big literary joke on
the part of Borges,

49:34.139 --> 49:38.089
but at the same time,
Borges is unsettling the

49:38.086 --> 49:42.996
romantic notion of the link
between creator and work,

49:43.000 --> 49:48.360
which he shows he cannot
completely unsettle it,

49:48.360 --> 49:53.320
because Pierre Menard dies
because of the effort it took to

49:53.324 --> 49:55.704
do this which,
of course, he could never

49:55.695 --> 49:55.985
finish.

49:55.989 --> 49:59.949
It's an impossible task that he
sets for himself.

49:59.949 --> 50:06.279
Borges was also reacting,
in 1939, when he wrote the

50:06.282 --> 50:08.812
story,
to what he considered to be

50:08.806 --> 50:12.026
sort of proto-fascist readings
of the Quixote by Spanish

50:12.034 --> 50:12.664
scholars.

50:12.659 --> 50:15.839
Remember, the Spanish Civil War
is just over,

50:15.840 --> 50:19.040
and the promotion of
hispanidad,

50:19.039 --> 50:21.349
the Spanishness,
and so forth,

50:21.347 --> 50:25.567
and he's trying to show that
Cervantes' great creation

50:25.568 --> 50:30.268
doesn't belong to any single
language or any single national

50:30.266 --> 50:32.986
tradition,
but that it can be,

50:32.987 --> 50:36.007
potentially,
can be written or rewritten by

50:36.010 --> 50:36.730
anyone.

50:36.730 --> 50:42.090
Also, he is underlining
something that he himself said

50:42.088 --> 50:45.828
with Cervantean self
depreciation,

50:45.829 --> 50:47.879
that once you write something
that is good,

50:47.880 --> 50:49.810
it doesn't belong to you any
more, it belongs to the

50:49.807 --> 50:52.137
tradition,
and so this is what it says,

50:52.141 --> 50:54.841
the Cervantes creation has
escaped him,

50:54.840 --> 50:56.950
because it now belongs to the
tradition,

50:56.949 --> 50:58.599
not to Cervantes.

50:58.599 --> 51:00.569
This is something that Borges
said.

51:00.570 --> 51:05.310
Now, let us finish by talking a
bit about Cervantes' death,

51:05.309 --> 51:09.149
going back to the beginning of
today's class.

51:09.150 --> 51:13.910
I think that Cervantes
identified with the death of Don

51:13.905 --> 51:16.455
Quixote and Alonso Quijano.

51:16.460 --> 51:20.430
I think that there is an
identification with them,

51:20.429 --> 51:25.039
because he feels that life as
fiction has to come to an end,

51:25.039 --> 51:29.809
and a form of truth must be
reached on the brink of death.

51:29.809 --> 51:33.569
It is a form of truth for which
ironically literature has

51:33.570 --> 51:36.260
prepared him through the
understanding of

51:38.139 --> 51:42.199
Cervantes seems to be saying
that he, like Don Quixote,

51:42.197 --> 51:46.627
is renouncing a life of make
belief, so what is the sense of

51:46.630 --> 51:48.360
the novel's ending?

51:48.360 --> 51:51.340
Perhaps it is the feeling of
sadness,

51:51.340 --> 51:54.430
of regret, that the book,
the madness,

51:54.429 --> 51:56.089
the entertainment,
and the fun,

51:56.090 --> 52:00.080
have to come to an end,
like everything else.

52:00.079 --> 52:05.039
It is not so much sense as
meaning, as sense as feeling,

52:05.041 --> 52:08.921
not sentido as
significado but

52:08.920 --> 52:12.620
sentido as
sentimiento.

52:12.619 --> 52:15.309
It's in the sense that Unamuno
uses the word sentimiento

52:15.309 --> 52:17.089
in the The Tragic Sense of
Life.

52:17.090 --> 52:20.270
So this is the sense of the
ending of the Quixote,

52:20.268 --> 52:24.728
it is a sense of sadness
redolent with potential

52:24.731 --> 52:28.161
meanings,
but these are meanings that we

52:28.155 --> 52:30.435
cannot decipher all together.

52:30.440 --> 52:35.460
Now, in the prologue to the
Persiles which is

52:35.463 --> 52:40.333
Cervantes' farewell,
he presents himself as a man

52:40.326 --> 52:45.086
resigned to his impending death,
and content with his

52:47.547 --> 52:49.447
had said in the quote at the
very beginning of my lecture.

52:49.449 --> 52:53.359
The text is Cervantes' farewell.

52:53.360 --> 52:55.820
The dedication to
Persiles,

52:55.818 --> 52:58.028
the dedication,
not the prologue,

52:58.030 --> 53:00.180
but they must have been
contemporaneous,

53:00.179 --> 53:03.099
contemporary to each other,
was April 19th,

53:03.103 --> 53:06.583
1616, the dedication,
that is, four days before his

53:06.583 --> 53:07.283
death.

53:07.280 --> 53:11.990
He says that he was given the
extremunction,

53:11.992 --> 53:16.422
which is the last rights in the
Catholic Church,

53:16.422 --> 53:19.912
and then he writes the
following.

53:19.909 --> 53:28.519
I hope I have it here;
I do, I do...

53:28.519 --> 53:31.429
Yes.

53:31.429 --> 53:36.359
So, I am going to read it,
it takes five minutes,

53:36.360 --> 53:42.010
in Spanish, and then I'm going
to read it in English.

53:42.010 --> 53:45.290
Apologies to those who cannot
follow it in Spanish,

53:45.289 --> 53:48.759
because I'm going to say
something about the rhythm of

53:48.764 --> 53:51.524
the prose, and I want you to
hear it:

53:54.489 --> 53:57.989
que, viniendo otros dos amigos
y yo del famoso lugar de

53:57.987 --> 54:00.867
Esquivias,
por mil causas famoso,

54:21.083 --> 54:23.843
sobre una borrica un estudiante
pardal,

54:25.969 --> 54:29.299
antiparras, zapato redondo y
espada con contera,

54:54.670 --> 54:56.630
caminan,
que en verdad que a mi burra se

54:59.548 --> 54:59.888
vez.

55:05.065 --> 55:08.855
tiene la culpa de esto,
porque es algo pasilargo.

55:19.500 --> 55:22.180
que con toda esa autoridad
caminaba,

55:29.889 --> 55:32.259
el famoso todo,
el escritor alegre y,

55:32.260 --> 55:34.960
finalmente, el regocijo de las
musas!'

55:34.960 --> 55:38.990
Yo, que en tanto espacio vi el
grande encomio de mis alabanzas,

55:53.659 --> 55:56.829
pero no el regocijo de las
musas, ni ninguno de las

56:00.070 --> 56:02.590
vuelva a cobrar su burra y
suba, y caminemos en buena

56:11.159 --> 56:13.669
y con paso asentado seguimos
nuestro camino,

56:17.559 --> 56:20.109
al momento,
diciendo: 'Esta enfermedad es

56:25.170 --> 56:26.440
bebiese,
vuesa merced,

56:31.786 --> 56:33.076
sin otra medicina alguna.'

56:44.559 --> 56:47.279
Mi vida se va acabando,
y, al paso de las

56:54.809 --> 56:58.209
En fuerte punto ha llegado
vuestra merced a conocerme,

56:58.210 --> 57:01.370
pues no me queda espacio para
mostrarme agradecido a la

57:01.367 --> 57:03.937
voluntad que vuesa merced me ha
mostrado.'

57:03.940 --> 57:06.350
En esto llegamos a la puente de
Toledo,

57:10.670 --> 57:12.020
al entrar por la de Segovia.

57:15.835 --> 57:19.585
mis amigos gana de decirlo,
y yo mayor gana de escucharlo.

57:32.222 --> 57:35.432
escribir donaires;
pero no son todos los tiempos

57:48.059 --> 57:50.619
que yo me voy muriendo,
y deseando veros presto

57:50.623 --> 57:52.523
contentos en la otra vida."

57:52.518 --> 57:57.338
Which goes, in English,
I hope without an interruption

57:57.335 --> 57:59.965
like the one we had before.

57:59.969 --> 58:03.809
You catch the setting,
he's going into Madrid,

58:03.806 --> 58:08.066
where the court is,
this is what he alludes to:

58:08.070 --> 58:11.430
"It so happens dearest
reader as two friends and I were

58:11.434 --> 58:14.804
coming from the famous town of
Esquivias [which is where his

58:14.798 --> 58:17.248
wife was from]
famous for a thousand reasons

58:17.251 --> 58:20.281
one of them being its
illustrious families and another

58:20.275 --> 58:23.805
its even more illustrious wines
that I perceived someone behind

58:23.811 --> 58:26.721
me sparing his mount on in a
great hurry.

58:26.719 --> 58:29.769
He apparently wanted to
overtake us and soon made that

58:29.773 --> 58:33.063
clear by calling out for us not
to spur on so urgently.

58:33.059 --> 58:37.239
We waited for him,
and on a she-ass up came a drab

58:37.240 --> 58:40.050
student,
drab because he came dressed

58:40.047 --> 58:42.447
all in rustic brown with
leggings,

58:42.449 --> 58:45.429
round toed shoes,
a sword in a chapped scabbard

58:45.425 --> 58:48.655
and a starch laced collar with
is matching ties.

58:48.659 --> 58:51.609
The fact of the matter is that
he only had two of these ties to

58:51.612 --> 58:53.632
hold it on,
so every other minute the

58:53.632 --> 58:56.932
collar kept falling over to one
side and he was at great pains

58:56.934 --> 58:58.184
to keep it straight.

58:58.179 --> 59:01.439
Catching up to us he said,
'You sirs must be on your way

59:01.436 --> 59:04.686
to court to obtain some office
or benefits from his most

59:04.693 --> 59:08.073
illustrious grace of Toledo and
his majesty themselves are

59:08.068 --> 59:11.358
doubtless there,
judging by the hurry with which

59:11.362 --> 59:14.742
you are traveling,
since even my ass,

59:14.737 --> 59:21.707
which has been praised more
than once for her speed couldn't

59:21.710 --> 59:23.720
catch to you.'

59:23.719 --> 59:27.159
To this, one of my companions
replied, 'It's the fault of

59:29.427 --> 59:31.697
which is somewhat
long-stepping.'

59:31.699 --> 59:34.809
Scarcely had the student heard
the name Cervantes when he

59:34.811 --> 59:38.311
dismounted from his pack animal
sending his saddlebags flying in

59:38.313 --> 59:40.763
one direction and his valise in
another.

59:40.760 --> 59:44.770
He traveled so completely
outfitted and rushed up to me,

59:44.768 --> 59:46.578
seizing my left hand and
saying, 'Yes,

59:46.579 --> 59:49.929
yes, this is the complete
cripple, the completely famous

59:49.934 --> 59:53.354
and comic writer and lastly the
delight of the muses.'

59:53.349 --> 59:57.799
I, who in so short a space of
time saw such great complements

59:57.802 --> 1:00:00.792
in my praise,
felt it would have been

1:00:00.788 --> 1:00:03.758
discourteous not to respond to
them,

1:00:03.760 --> 1:00:05.260
and so, embracing him around
the neck,

1:00:05.260 --> 1:00:07.330
where by I destroyed his collar
all together,

1:00:07.329 --> 1:00:10.099
I said to him,
'That is an error into which

1:00:10.101 --> 1:00:13.071
many of my uninformed admirers
have fallen.

1:00:13.070 --> 1:00:15.780
I sir, am Cervantes,
but not the delight of the

1:00:15.775 --> 1:00:19.005
muses or any other foolish
things that you mentioned.

1:00:19.010 --> 1:00:21.540
Round up your ass,
mount up, and let's pass the

1:00:21.536 --> 1:00:24.776
brief remainder of our journey
in pleasant conversation.'

1:00:24.780 --> 1:00:27.330
The obliging student did just
that;

1:00:27.329 --> 1:00:30.969
we reigned in slightly and then
resumed our trip at a more

1:00:30.972 --> 1:00:32.062
leisurely pace.

1:00:32.059 --> 1:00:34.759
As we traveled,
we talked about my illness,

1:00:34.760 --> 1:00:37.480
and the good student
immediately diagnosed me a

1:00:37.483 --> 1:00:40.073
hopeless case,
saying, 'This sickness is

1:00:40.072 --> 1:00:43.812
dropsy incurable even if you
were to drink all of the waters

1:00:43.806 --> 1:00:45.766
of the ocean sea made sweet.

1:00:48.992 --> 1:00:51.852
and don't forget to eat,
for thereby you will recovery

1:00:51.849 --> 1:00:53.439
without any other medicine.'

1:00:53.440 --> 1:00:55.560
'That's what many have told
me', I replied,

1:00:55.559 --> 1:00:58.589
'but I just can't give up the
pleasure of drinking all I want

1:00:58.588 --> 1:01:00.658
for it almost seems I was born
to it.

1:01:00.659 --> 1:01:04.239
My life's race is slowing at
the rate of my pulse,

1:01:04.237 --> 1:01:08.037
and by this Sunday at the
latest it will complete its

1:01:08.036 --> 1:01:10.296
course and with it my life.

1:01:10.300 --> 1:01:12.840
You sir, have made my
acquaintance at a difficult

1:01:12.840 --> 1:01:15.650
moment, for there isn't enough
time left to express my

1:01:15.648 --> 1:01:18.188
gratitude for the goodwill
you've shown me.'

1:01:18.190 --> 1:01:20.230
At this point,
we arrived at the Toledo

1:01:20.231 --> 1:01:23.671
bridge, where I crossed into the
city and he road off to enter by

1:01:23.670 --> 1:01:24.800
the Segovia road.

1:01:24.800 --> 1:01:28.380
As to what may be said of this
incident fame will take care to

1:01:28.376 --> 1:01:30.806
report it,
my friends will take pleasure

1:01:30.806 --> 1:01:33.906
in telling it and I even more
pleasure in hearing it.

1:01:33.909 --> 1:01:37.579
Once again, we embraced each
other, he spurred his mount and

1:01:37.577 --> 1:01:40.927
left me just as ill at ease as
he was in trying to be a

1:01:40.932 --> 1:01:42.552
gentleman on that ass.

1:01:42.550 --> 1:01:45.630
He had afforded my pen a great
opportunity to be witty,

1:01:45.628 --> 1:01:49.218
but you can't always make one
moment what you can of another.

1:01:49.219 --> 1:01:52.809
The time had come perhaps when
I shall tie up this broken

1:01:52.813 --> 1:01:56.533
thread and say what I fail to
hear and what would have been

1:01:56.534 --> 1:01:58.344
fitting,
goodbye humor,

1:01:58.335 --> 1:02:00.885
goodbye wit,
goodbye merry friends,

1:02:00.889 --> 1:02:04.949
for I am dying and hope to see
you soon happy in the life to

1:02:04.945 --> 1:02:05.835
come."

1:02:05.840 --> 1:02:13.290
Here we find the same Cervantes
of the Quixote prologues.

1:02:13.289 --> 1:02:17.979
These are the five points that
I want to make.

1:02:17.980 --> 1:02:22.260
One, the prologue as dialogue,
as in Part I,

1:02:22.260 --> 1:02:26.650
and throughout Cervantes' work,
instead of an expository piece

1:02:26.652 --> 1:02:30.342
in the first person,
he needs to create another to

1:02:30.335 --> 1:02:32.565
tell the story of his own self.

1:02:32.570 --> 1:02:34.390
Why?

1:02:34.389 --> 1:02:38.989
Do these dialogues reflect
those going on in his own mind?

1:02:38.989 --> 1:02:43.009
They do reflect his ironic
stance before his own sense of

1:02:43.014 --> 1:02:46.284
self,
and before his own sense of the

1:02:46.275 --> 1:02:48.525
truth,
because it is sort of this

1:02:48.530 --> 1:02:50.510
perspectivism that we have seen.

1:02:50.510 --> 1:02:54.970
Two, here, as so many times in
the Quixote,

1:02:54.965 --> 1:02:59.685
we have another student,
with hilarious details about

1:02:59.693 --> 1:03:01.243
his clothing.

1:03:01.239 --> 1:03:05.429
Students are seekers of
knowledge, readers which are of

1:03:05.429 --> 1:03:08.999
great interest to Cervantes,
as we all know.

1:03:09.000 --> 1:03:11.750
The details,
as all details in Cervantes,

1:03:11.748 --> 1:03:14.838
are revealing of character,
of personality.

1:03:14.840 --> 1:03:18.550
This is a very economical way
of talking about this guy's

1:03:18.554 --> 1:03:22.274
personality by showing his
vanity with all of his clothes

1:03:22.269 --> 1:03:23.729
that he's wearing.

1:03:23.730 --> 1:03:30.200
Three, the scene takes place on
the road, symbol of time and of

1:03:30.199 --> 1:03:33.539
life as in the Quixote.

1:03:33.539 --> 1:03:36.699
Four--and I think this is the
subtlest and this is why I

1:03:36.702 --> 1:03:40.272
wanted you to hear it in my
interrupted reading in Spanish--

1:03:40.268 --> 1:03:45.378
the rhythm of prose,
and of the story itself seems

1:03:45.384 --> 1:03:49.354
to echo that of the trotting
horses;

1:03:49.349 --> 1:03:53.329
this trotting of the horses and
the various paces that the

1:03:53.333 --> 1:03:58.643
horses follow are marking time,
and time, its fleetingness is

1:03:58.643 --> 1:04:04.823
the theme of the piece life's
race and life's journey coalesce

1:04:04.815 --> 1:04:10.375
as death approaches and is
marked by the trotting of the

1:04:10.378 --> 1:04:14.728
horses and by the rhythm of the
prose.

1:04:14.730 --> 1:04:19.330
Five, Cervantes deals
ironically with his late fame,

1:04:19.331 --> 1:04:22.491
which comes when he's near
death.

1:04:22.489 --> 1:04:26.069
It's something out of rhythm
because now it is of little

1:04:26.074 --> 1:04:28.164
consolation or profit for him.

1:04:28.159 --> 1:04:32.979
So we have here the same self
deprecating Cervantes that we

1:04:32.978 --> 1:04:34.888
have learned to love.

1:04:34.889 --> 1:04:39.259
Now, it is in that same spirit
that I ask him,

1:04:39.260 --> 1:04:44.890
or wherever he happens to be,
and I ask you forgiveness for

1:04:44.893 --> 1:04:49.463
my own shortcomings in
commenting his work.

1:04:49.460 --> 1:04:51.790
Thank you very much.

1:04:51.789 --> 1:04:58.999