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C.D. Warner, et al., comp.  The Library of the World’s Best Literature.
An Anthology in Thirty Volumes.  1917.
Miguel de Cervantes Saavedra (1547–1616)
Critical and Biographical Introduction by George Santayana (1863–1952)
CERVANTES is known to the world as the author of ‘Don Quixote’ and although his other works are numerous and creditable, and his pathetic life is carefully recorded, yet it is as the author of ‘Don Quixote’ alone that he deserves to be generally known or considered. Had his wit not come by chance on the idea of the Ingenious Hidalgo, Cervantes would never have attained his universal renown, even if his other works and the interest of his career should have sufficed to give him a place in the literary history of his country. Here, then, where our task is to present in miniature only what has the greatest and most universal value, we may treat our author as playwrights are advised to treat their heroes, saying of him only what is necessary to the understanding of the single action with which we are concerned. This single action is the writing of ‘Don Quixote’; and what we shall try to understand is what there was in the life and environment of Cervantes that enabled him to compose that great book, and that remained imbedded in its characters, its episodes, and its moral.  1
  There was in vogue in the Spain of the sixteenth century a species of romance called books of chivalry. They were developments of the legends dealing with King Arthur and the Knights of the Table Round, and their numerous descendants and emulators. These stories had appealed in the first place to what we should still think of as the spirit of chivalry: they were full of tourneys and single combats, desperate adventures and romantic loves. The setting was in the same vague and wonderful region as the Coast of Bohemia, where to the known mountains, seas, and cities that have poetic names, was added a prodigious number of caverns, castles, islands, and forests of the romancer’s invention. With time and popularity this kind of story had naturally intensified its characteristics until it had reached the greatest extravagance and absurdity, and combined in a way the unreality of the fairy tale with the bombast of the melodrama.  2
  Cervantes had apparently read these books with avidity, and was not without a great sympathy with the kind of imagination they embodied. His own last and most carefully written book, the ‘Travails of Persiles and Sigismunda,’ is in many respects an imitation of them; it abounds in savage islands, furious tyrants, prodigious feats of arms, disguised maidens whose discretion is as marvelous as their beauty, and happy deliverances from intricate and hopeless situations. His first book also, the ‘Galatea,’ was an embodiment of a kind of pastoral idealism: sentimental verses being interspersed with euphuistic prose, the whole describing the lovelorn shepherds and heartless shepherdesses of Arcadia.  3
  But while these books, which were the author’s favorites among his own works, expressed perhaps Cervantes’s natural taste and ambition, the events of his life and the real bent of his talent, which in time he came himself to recognize, drove him to a very different sort of composition. His family was ancient but impoverished, and he was forced throughout his life to turn his hand to anything that could promise him a livelihood. His existence was a continuous series of experiments, vexations, and disappointments. He adopted at first the profession of arms, and followed his colors as a private soldier upon several foreign expeditions. He was long quartered in Italy; he fought at Lepanto against the Turks, where among other wounds he received one that maimed his left hand, to the greater glory, as he tells us, of his right; he was captured by Barbary pirates and remained for five years a slave in Algiers; he was ransomed, and returned to Spain only to find official favors and recognitions denied him; and finally, at the age of thirty-seven, he abandoned the army for literature.  4
  His first thought as a writer does not seem to have been to make direct use of his rich experience and varied observation; he was rather possessed by an obstinate longing for that poetic gift which, as he confesses in one place, Heaven had denied him. He began with the idyllic romance, the ‘Galatea’ already mentioned, and at various times during the rest of his life wrote poems, plays, and stories of a romantic and sentimental type. In the course of these labors, however, he struck one vein of much richer promise. It was what the Spanish call the picaresque; that is, the description of the life and character of rogues, pickpockets, vagabonds, and all those wretches and sorry wits that might be found about the highways, in the country inns, or in the slums of cities. Of this kind is much of what is best in his collected stories, the ‘Novelas Exemplares.’ The talent and the experience which he betrays in these amusing narratives were to be invaluable to him later as the author of ‘Don Quixote,’ where they enabled him to supply a foil to the fine world of his poor hero’s imagination.  5
  We have now mentioned what were perhaps the chief elements of the preparation of Cervantes for his great task. They were a great familiarity with the romances of chivalry, and a natural liking for them; a life of honorable but unrewarded endeavor both in war and in the higher literature; and much experience of Vagabondia, with the art of taking down and reproducing in amusing profusion the typical scenes and languages of low life. Out of these elements a single spark, which we may attribute to genius, to chance, or to inspiration, was enough to produce a new and happy conception: that of a parody on the romances of chivalry, in which the extravagances of the fables of knighthood should be contrasted with the sordid realities of life. This is done by the ingenious device of representing a country gentleman whose naturally generous mind, unhinged by much reading of the books of chivalry, should lead him to undertake the office of knight-errant, and induce him to ride about the country clad in ancient armor, to right wrongs, to succor defenseless maidens, to kill giants, and to win empires at least as vast as that of Alexander.  6
  This is the subject of ‘Don Quixote.’ But happy as the conception is, it could not have produced a book of enduring charm and well-seasoned wisdom, had it not been filled in with a great number of amusing and lifelike episodes, and verified by two admirable figures, Don Quixote and Sancho Panza, characters at once intimately individual and truly universal.  7
  Don Quixote at first appears to the reader, and probably appeared to the author as well, as primarily a madman,—a thin and gaunt old village squire, whose brain has been turned by the nonsense he has read and taken for gospel truth; and who is punished for his ridiculous mania by an uninterrupted series of beatings, falls, indignities, and insults. But the hero and the author together, with the ingenuity proper to madness and the inevitableness proper to genius, soon begin to disclose the fund of intelligence and ideal passion which underlies this superficial insanity. We see that Don Quixote is only mad north-north-west, when the wind blows from the quarter of his chivalrous preoccupation. At other times he shows himself a man of great goodness and fineness of wit; virtuous, courageous, courteous, and generous, and in fact the perfect ideal of a gentleman. When he takes, for instance, a handful of acorns from the goat-herds’ table and begins a grandiloquent discourse upon the Golden Age, we feel how cultivated the man is, how easily the little things of life suggest to him the great things, and with what delight he dwells on what is beautiful and happy. The truth and pathos of the character become all the more compelling when we consider how naturally the hero’s madness and calamities flow from this same exquisite sense of what is good.  8
  The contrast to this figure is furnished by that of Sancho Panza, who embodies all that is matter-of-fact, gross, and plebeian. Yet he is willing to become Don Quixote’s esquire, and by his credulity and devotion shows what an ascendency a heroic and enthusiastic nature can gain over the most sluggish of men. Sancho has none of the instincts of his master. He never read the books of chivalry or desired to right the wrongs of the world. He is naturally satisfied with his crust and his onions, if they can be washed down with enough bad wine. His good drudge of a wife never transformed herself in his fancy into a peerless Dulcinea. Yet Sancho follows his master into every danger, shares his discomfiture and the many blows that rain down upon him, and hopes to the end for the governorship of that Insula with which Don Quixote is some day to reward his faithful esquire.  9
  As the madness of Don Quixote is humanized by his natural intelligence and courage, so the grossness and credulity of Sancho are relieved by his homely wit. He abounds in proverbs. He never fails to see the reality of a situation, and to protest doggedly against his master’s visionary flights. He holds fast as long as he can to the evidence of his senses, and to his little weaknesses of flesh and spirit. But finally he surrenders to the authority of Don Quixote, and of the historians of chivalry, although not without a certain reluctance and some surviving doubts.  10
  The character of Sancho is admirable for the veracity with which its details are drawn. The traits of the boor, the glutton, and the coward come most naturally to the surface upon occasion, yet Sancho remains a patient, good-natured peasant, a devoted servant, and a humble Christian. Under the cover of such lifelike incongruities, and of a pervasive humor, the author has given us a satirical picture of human nature not inferior, perhaps, to that furnished by Don Quixote himself. For instance: Don Quixote, after mending his helmet, tries its strength with a blow that smashes it to pieces. He mends it a second time, but now, without trial, deputes it to be henceforth a strong and perfect helmet. Sancho, when he is sent to bear a letter to Dulcinea, neglects to deliver it, and invents an account of his interview with the imaginary lady for the satisfaction of his master. But before long, by dint of repeating the story, he comes himself to believe his own lies. Thus self-deception in the knight is the ridiculous effect of courage, and in the esquire the not less ridiculous effect of sloth.  11
  The adventures these two heroes encounter are naturally only such as travelers along the Spanish roads would then have been likely to come upon. The point of the story depends on the familiarity and commonness of the situations in which Don Quixote finds himself, so that the absurdity of his pretensions may be overwhelmingly shown. Critics are agreed in blaming the exceptions which Cervantes allowed himself to make to the realism of his scenes, where he introduced romantic tales into the narrative of the first part. The tales are in themselves unworthy of their setting, and contrary to the spirit of the whole book. Cervantes doubtless yielded here partly to his story-telling habits, partly to a fear of monotony in the uninterrupted description of Don Quixote’s adventures. He avoided this mistake in the second part, and devised the visit to the Duke’s palace, and the intentional sport there made of the hero, to give variety to the story.  12
  More variety and more unity may still, perhaps, seem desirable in the book. The episodes are strung together without much coherence, and without any attempt to develop either the plot or the characters. Sancho, to be sure, at last tastes the governorship of his Insula, and Don Quixote on his death-bed recovers his wits. But this conclusion, appropriate and touching as it is, might have come almost anywhere in the course of the story. The whole book has, in fact, rather the quality of an improvisation. The episodes suggest themselves to the author’s fancy as he proceeds; a fact which gives them the same unexpectedness and sometimes the same incompleteness which the events of a journey naturally have. It is in the genius of this kind of narrative to be a sort of imaginary diary, without a general dramatic structure. The interest depends on the characters and the incidents alone; on the fertility of the author’s invention, on the ingenuity of the turns he gives to the story, and on the incidental scenes and figures he describes.  13
  When we have once accepted this manner of writing fiction—which might be called that of the novelist before the days of the novel—we can only admire the execution of ‘Don Quixote’ as masterly in its kind. We find here an abundance of fancy that is never at a loss for some probable and interesting incident; we find a graphic power that makes living and unforgettable many a minor character, even if slightly sketched; we find the charm of the country rendered by little touches without any formal descriptions; and we find a humorous and minute reproduction of the manners of the time. All this is rendered in a flowing and easy style, abounding in both characterization and parody of diverse types of speech and composition; and the whole is still but the background for the figures of Don Quixote and Sancho, and for their pleasant discourse, the quality and savor of which is maintained to the end. These excellences unite to make the book one of the most permanently delightful in the world, as well as one of the most diverting. Seldom has laughter been so well justified as that which the reading of ‘Don Quixote’ continually provokes; seldom has it found its causes in such genuine fancy, such profound and real contrast, and such victorious good-humor.  14
  We sometimes wish, perhaps, that our heroes were spared some of their bruises, and that we were not asked to delight so much in promiscuous beatings and floggings. But we must remember that these three hundred years have made the European race much more sensitive to physical suffering. Our ancestors took that doubtful pleasure in the idea of corporal writhings which we still take in the description of the tortures of the spirit. The idea of both evils is naturally distasteful to a refined mind; but we admit more willingly the kind which habit has accustomed us to regard as inevitable, and which personal experience very probably has made an old friend.  15
  ‘Don Quixote’ has accordingly enjoyed a universal popularity, and has had the singular privilege of accomplishing the object for which it was written, which was to recall fiction from the extravagances of the books of chivalry to the study of real life. This is the simple object which Cervantes had and avowed. He was a literary man with literary interests, and the idea which came to him was to ridicule the absurdities of the prevalent literary mode. The rich vein which he struck in the conception of Don Quixote’s madness and topsy-turvy adventures encouraged him to go on. The subject and the characters deepened under his hands, until from a parody of a certain kind of romances the story threatened to become a satire on human idealism. At the same time Cervantes grew fond of his hero, and made him, as we must feel, in some sort a representative of his own chivalrous enthusiasms and constant disappointments.  16
  We need not, however, see in this transformation any deep-laid malice or remote significance. As the tale opened out before the author’s fancy and enlisted his closer and more loving attention, he naturally enriched it with all the wealth of his experience. Just as he diversified it with pictures of common life and manners, so he weighted it with the burden of human tragedy. He left upon it an impress of his own nobility and misfortunes side by side with a record of his time and country. But in this there was nothing intentional. He only spoke out of the fullness of his heart. The highest motives and characters had been revealed to him by his own impulses, and the lowest by his daily experience.  17
  There is nothing in the book that suggests a premeditated satire upon faith and enthusiasm in general. The author’s evident purpose is to amuse, not to upbraid or to discourage. There is no bitterness in his pathos or despair in his disenchantment; partly because he retains a healthy fondness for this naughty world, and partly because his heart is profoundly and entirely Christian. He would have rejected with indignation an interpretation of his work that would see in it an attack on religion or even on chivalry. His birth and nurture had made him religious and chivalrous from the beginning, and he remained so by conviction to the end. He was still full of plans and hopes when death overtook him, but he greeted it with perfect simplicity, without lamentations over the past or anxiety for the future.  18
  If we could have asked Cervantes what the moral of Don Quixote was to his own mind, he would have told us perhaps that it was this: that the force of idealism is wasted when it does not recognize the reality of things. Neglect of the facts of daily life made the absurdity of the romances of chivalry and of the enterprise of Don Quixote. What is needed is not, of course, that idealism should be surrendered, either in literature or in life; but that in both it should be made efficacious by a better adjustment to the reality it would transform.  19
  Something of this kind would have been, we may believe, Cervantes’s own reading of his parable. But when parables are such direct and full transcripts of life as is the story of Don Quixote, they offer almost as much occasion for diversity of interpretation as does the personal experience of men in the world. That the moral of Don Quixote should be doubtful and that each man should be tempted to see in it the expression of his own convictions, is after all the greatest possible encomium of the book. For we may infer that the truth has been rendered in it, and that men may return to it always, as to Nature herself, to renew their theories or to forget them, and to refresh their fancy with the spectacle of a living world.  20

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