Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.12
B. Ife
Cervantes’s claim in the prologue to his Novelas ejemplares to be the first to write novels in Spanish is more than justified, not just on grounds of originality, but also for the skilful blend of entertainment and literary sophistication they offer. Whereas other Spanish collections of novelas are imitated or plagiarised, these are all his own work. And while other novelas are often little more than bawdy anecdotes, these novels offer the most wholesome entertainment, that is, entertainment that a book-buyer could allow his wife—or even his servants—to read. While there is evidence that the title was originally longer, what is certainly clear is that the title Cervantes eventually settled on would have struck most contemporary readers and book-buyers as an intriguing contradiction in terms. This chapter explores this uniquely Cervantine collection of novellas and its significance in the history of Spanish literature.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.13
Michael Armstrong-Roche
Published posthumously, Los trabajos de Persiles y Sigismunda: Historia setentrional (1617) was the triumphant capstone to a remarkable run of works written, revised, or concluded in the wake of the first part of Don Quixote (1605). Cervantes would leave his inventive stamp on every major genre of literary entertainment then fashionable: myriad verse forms, drama, pastoral and chivalric novels, the novella, the Menippean satirical dream, and the Heliodoran adventure novel, along with others as interpolated tale, incident, or passing characterization. The last four years of his life, which saw a rapid succession of publications, suggest a veteran writer used to taking his time but now acutely aware it was running out. Proud of the 1605 Quixote’s wild popularity, Cervantes was also anxious to shape his literary legacy so that it would not be swallowed up by its run-away success.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.27
Zenón Luis-Martínez
With the arrival of a princeps edition of the 1605 Quixote in the same year of its printing, the British public developed an immediate fascination with the novel. Literary references and adaptations to the book appeared as early as 1607, well before the first published translation into English in 1612. From Shakespeare to Fletcher, from Milton to Dickens, and down to the present day, the antics of Don Quixote and Sancho have become assimilated into British culture. This chapter discusses the most significant influences of Cervantes’s writings in British society since their inception into the British Isles.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.22
Esther Fernández Rodríguez
Even though Viaje del Parnaso (1614) has been relegated to the status of a minor work within Cervantine literature, in its day it must have had a strong personal significance, and it was well received. The fact that he devoted time and energy towards the end of his life to complete Viaje meant that Cervantes wanted to leave us with a personal testimony of his experience as a writer and a record of his artistic and aesthetic values. However, it undeservedly finds itself at the margins of Cervantine studies, possibly due to the widespread belief held by many that he was a bad poet. This chapter explores the literary value of Viaje and the ‘Adjunta’ in prose and why it has been studied so little.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.11
Benjamin J. Nelson
Due to the popularity of Don Quixote and later works, Cervantes’s La Galatea has suffered from being overlooked or maligned. This chapter argues that Cervantes, by choosing the pastoral as his first substantial narrative, continues the tradition of the pastoral novel initiated by Montemayor’s La Diana and supersedes it. Cervantes introduces himself as an Orphic poet who participates in the famed rota Virgilii, or Virgil’s Wheel, which may have originated from the enigmatic verses that appeared in the frontispiece of a first-century edition of Virgil’s Aeneid: ‘I am he who once tuned my song on a slender reed, / then, leaving the woodland, compelled the neighbouring / fields to serve the husbandman, however grasping— / a work welcome to farmers: but now of Mars’ bristling’. By starting with the pastoral, a writer would emulate the famed Virgil by later composing works comparable to the Georgics and, afterwards, to the Aeneid.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.30
Duncan Wheeler
April 2016 marked the four-hundredth anniversary of the deaths of both Miguel de Cervantes and William Shakespeare, with a noticeable lack of attention paid to the former in relation to the latter, even in Spain. A relative lack of film adaptations of Cervantes’s works has been construed as a symptom and cause of the Spaniard’s lack of visibility at home and abroad. This chapter probes this assertion and explores the dialectic between commemorative culture and Spanish screen fictions based on the life and works of Cervantes. Included are discussions of Francoist appropriations of the symbolism of Cervantes in Spanish national heritage, and the attempts to reappropriate those same images in the democratic era through film.
2016年4月是米格尔·德·塞万提斯(Miguel de Cervantes)和威廉·莎士比亚(William Shakespeare)逝世400周年纪念日，但即便是在西班牙，人们对前者和后者的关系也明显缺乏关注。塞万提斯作品的电影改编相对较少被认为是西班牙人在国内外缺乏知名度的一个症状和原因。本章对这一论断进行了探讨，并以塞万提斯的生平和作品为基础，探讨了纪念文化与西班牙银幕小说之间的辩证关系。书中讨论了佛朗哥主义对西班牙国家遗产中塞万提斯象征主义的挪用，以及在民主时代通过电影重新挪用这些形象的尝试。
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.9
Yolanda Iglesias
The objective of this study is to present the meaning, complexity, innovation, and relevance of Don Quixote’s narrative structure within the literary tradition. First, this chapter reviews the diverse perspectives and interpretations among scholars when attempting to establish the narrative structure created by Cervantes. It highlights the directions in which scholars have, over time, been arguing about the narrative structure of Don Quixote, to show how some enigmas remain unsolved. Second, this piece re-examines previous literature with the goal of solving some of the unexplained gaps in the narrative and framing the relevance of the structure in Don Quixote, which is one of the main pillars supporting the argument that Cervantes’s masterpiece is the first modern novel.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.7
Edwin Williamson
A critical commentary on the major episodes of Don Quixote Part Two, this chapter shows how the pivotal episode of Dulcinea’s alleged enchantment (DQ II. 10) brings about a transformation in the character of each of the protagonists and in the nature of their relations, as well as providing a new unifying principle for the episodic narrative. Cervantes’s parody of the books of chivalry reaches its climax at the Duke’s palace, where an inversion occurs in the relationship between Don Quixote and Sancho Panza that will lead to the decline and fall of the would-be hero. In this second part, Cervantes’s modulations of comedy and pathos fashion the paradoxical madness of the Knight of La Mancha into an unprecedented literary phenomenon that would come to resonate powerfully with modern readers.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.15
B. Brewer
In Don Quixote I.47 and 48, Cervantes sets out his most sustained exposition of literary theory. This chapter points out that the dialogue staged in these chapters between the canon from Toledo and the priest from Don Quixote’s village contains in embryonic form the primary tensions that infuse Cervantes’s attitude toward literary genre as revealed in his fiction. The critical exchange is divided into two parts: the canon’s critique of the romances of chivalry that have caused Don Quixote’s insanity, and the priest’s appraisal of the state of contemporary popular theatre. In both cases, which are complementary, the characters’ criticisms are harsh without being completely uncompromising. Also, in both cases, the artistic precepts expounded accurately describe Cervantes’s actual practice of composing literary fiction, with the non-trivial caveat that they also contain important limitations.
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Pub Date : 2021-02-10DOI: 10.1093/oxfordhb/9780198742913.013.3
Stacey Triplette
Miguel de Cervantes travelled the Mediterranean as a professional soldier, fought in the battle of Lepanto in 1571, and endured five years in captivity in Algiers before he published his first literary work in 1585. References to warfare appear throughout Cervantes’s literary production, serving as a metaphor, background, or interpolation, even in texts that concern themselves primarily with civilian life. Though Cervantes celebrates his personal career as a soldier, he subjects the theme of warfare more generally to the irony and distance with which he treats other cultural phenomena of early modern Spain. In all his texts, Cervantes expresses a concern for justice in military action. For the individual soldier, citizen, or knight-errant, personal heroism and correct behaviour appear to be possible, but on the scale of the nation, warfare leads inevitably to financial opportunism and human suffering.
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