Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.24
Stacey Triplette
Cervantes’s literary works reference a complex set of ancient, medieval, and early modern sources. Having been raised with a humanist education, Cervantes would have been familiar with many classical writes, such as Homer and Virgil, as well as European writers who lived and worked closer to his own time, such as Torquato Tasso and Mateo Alemán. This chapter does not pretend to be exhaustive in its treatment of Cervantes’s sources, but it does offer the reader a guide to many of the most important influences on Cervantes’s literary production from Spain, early modern Europe, and classical antiquity.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.10
D. Palmer
This chapter addresses how Cervantes uses humour to treat philosophical issues, or in ways that invite philosophical analysis, in Don Quixote. There are at least five ways in which philosophy appears. First, there is Cervantes’s familiarity with philosophical and his use of them in his writings. Second, the thoughts, statements, and acts of Cervantes’s hero position him in various philosophical stances. Third, the employment by literary critics of more recent philosophical developments as they read Cervantes’s novel. Fourth, we find philosophers of later generations analysing Cervantes’s novel in ways that suggest new philosophical readings of it. Fifth, we discover that certain ideas in Don Quixote anticipate future philosophical developments. This chapter shows that one of the reasons for the apparent modernity of Don Quixote is Cervantes’s comprehension of the philosophical past and his eventual escape from its grasp through his intellectual strategies, which are anticipatory of our own period.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.4
Frederick A. de Armas
Born in 1547, at a time when Charles V was leader of the western world and ruled the largest empire ever known, Miguel de Cervantes would reflect on his imperial habitat and experiences throughout his works. Cervantes exhibits his pride at fighting for the empire and foregrounds his role at the famous Battle of Lepanto, a naval battle that saw western powers put a stop to the Ottomans, the second great empire of the period with which it competed for control of the Mediterranean. At the same time, his works often problematize questions of empire, from specific tactics in war, to the morality of waging war against other Christian nations, to general questions of imperial expansionism. This essay will point to a continuing wavering and ambiguity in his relations to empire, starting from his first substantial works in the early 1580s until his demise in 1616.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.21
A. Martín
Even during his own lifetime, Cervantes was labelled a bad poet, but renewed scholarly interest in his verse over the years has revealed a sophisticated poet writing in a competitive milieu. Throughout his prose works he refers consistently to the function, the value, and the qualities that this ‘sweet art’ should possess, returning somewhat obsessively to the topic, and produced his great mock epic, Viaje del Parnaso, towards the end of his life. This chapter addresses the lack of critical attention to his poetry and studies the context in which Cervantes composed them.
即使在他自己的一生中，塞万提斯也被贴上了糟糕诗人的标签，但多年来对他的诗歌重新燃起的学术兴趣揭示了他是一位在竞争激烈的环境中写作的老练诗人。在他的散文作品中，他一直提到这种“甜蜜的艺术”应该拥有的功能，价值和品质，有点痴迷地回到这个话题，并在他生命的最后创作了他伟大的讽刺史诗，Viaje del Parnaso。这一章解决了对他的诗歌缺乏批判性关注的问题，并研究了塞万提斯创作诗歌的背景。
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.29
K. Sliwa
As Cervantes became a famous writer during his own lifetime, information about the life and times of the man who composed the works that carry his name became in high demand. However, more than 100 years passed after his death before the first comprehensive biography was written. This chapter provides the reader with an overview of the most important biographers of Miguel de Cervantes, beginning with Gregorio Mayáns y Siscar in the early eighteenth century, and including Vicente de los Ríos, Juan Antonio Pellicer y Pilares, Martín Fernández de Navarrete, Jerónimo Morán, James Fitzmaurice-Kelly, Luis Astrana Marín, and concluding with Jean Canavaggio, contributor to this volume. The chapter lists these critics’ works and aims to analyse and meticulously compare all the major biographies in order to determine the vision obtained by the biographers of the hero of Lepanto.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.31
R. Oakley
This chapter presents a survey of Cervantine criticism until the closing of the twentieth century. With a single exception, the critical fortunes of Cervantes’s works are treated here in the order in which they were originally published. From his first published work in 1585 to the posthumous Persiles in 1617, the Cervantine canon has provided an immeasurable influence on world literature and culture. This chapter analyses their reception in Spain and around the world and describes the most well-known and significant academic studies in the nearly four centuries since the writer’s death.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.16
David G. Burton
In the 1580s, Cervantes turned to writing for the stage in pursuit of a career as a professional playwright, capitalizing on the popularity of the public theatres and the lucrative trade it produced. However, after a modicum of success his career was soon thwarted by the comedia nueva and the advent of Lope de Vega in the late-1580s would take that obsession to a national level. This chapter explores the first stage of Cervantes’s writing career prior to this new type of play establishing a monopoly on the tastes of the paying public.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.5
M. A. Garcés
Cervantes’s obsession with freedom and captivity evokes his long incarceration in Algiers (1575–80). In effect, his capture by Barbary corsairs in 1575 and the five years he spent in Algiers left an indelible impression on his fiction. From the first works written after his liberation, such as his play El trato de Argel (c. 1581–3) and his novel La Galatea (1585), to his posthumous book Los trabajos de Persiles y Sigismunda (1617), the story of this traumatic experience continuously resonates throughout his work. The motif of captivity characterizes Cervantes’s autobiographical narrative, La historia del cautivo, interpolated in Don Quixote I.39–41, as well as two of his novellas. Concurrently, his Barbary plays turn around the theme of captivity suffered by Christians in Ottoman territories during the early modern period.
塞万提斯对自由和囚禁的痴迷唤起了他在阿尔及尔的长期监禁(1575-80)。实际上，他在1575年被巴巴里海盗抓获，以及他在阿尔及尔度过的五年，给他的小说留下了不可磨灭的印象。从他解放后写的第一部作品，如他的戏剧《El trato de Argel》(约1581-3年)和他的小说《La Galatea》(1585年)，到他死后的书《Los trabajos de Persiles y Sigismunda》(1617年)，这段创伤经历的故事不断在他的作品中引起共鸣。囚禁的主题是塞万提斯自传体叙事的特点，La historia del cautivo，被插入到堂吉诃德I.39-41，以及他的两部中篇小说中。同时，他的巴巴里戏剧围绕着现代早期奥斯曼帝国领土上基督徒被囚禁的主题。
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.20
Kathleen Jeffs
With the overwhelming success of Don Quixote, many writers were as damning of his poetic verses as they were praising of the famous novel. However, students of Cervantine writing and its idiosyncrasies identify a wealth of ingenuity in his verse writing, including in poems and theatrical works. This chapter focuses on the use of polymetric verse in Cervantes’s drama, exploring its different uses and meanings in comparison with other writer, principally Lope de Vega, and demonstrating that it is much more sophisticated than it has been given credit for over the centuries.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.17
Melanie S. Henry
Towards the end of his life, Cervantes returned nostalgically to his earlier days as a playwright, and in 1615 he published eight full-length plays that had never appeared on stage. As with most of his output, Cervantes strayed from form and convention and criticized the trendy theatre of the day that seemed to pander to the masses. This chapter explores the plays that Cervantes chose to publish in the same year as the second part of Don Quixote as a collection, and how his resistance to and departure from established norms are representative of his marginalization in the literary and theatrical world. In fact, they serve as a direct reaction to the comedia nueva.
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