Don Quijote de la Mancha (Spanish Edition)
by Miguel de Cervantes
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Book Summary Information
Author: Miguel de CervantesEdition: Hardcover
Audio: Spanish (Unknown); Spanish (Original Language); Spanish (Published)
Published: 2004-11
ISBN: 8420467286
Number of pages: 1360
Publisher: Alfaguara
Book Reviews of Don Quijote de la Mancha (Spanish Edition)
Book Review: Introspective Quijote
Summary: 5 Stars
I haven't yet gained the courage to give any special comment to any of the Shakespeares. But I'm now going to embark on the second hardest path: to say anything meaningful of Cervantes.
Cervantes is the creator of much, and if I tell you that I believe he has, alongisde to the Bible and Shakespeare, created the Western consciousness (here confess being heavily influenced by Bloom) I think you might get an idea of how much I respect the man and his work. And then I'm interested in something I call narrative introspection, which is basically a personal transmogrification of other theories of self-consciousness and self-reference in storytelling. If nothing else, I'm going to shed some light on this subject.
It feels daunting to write anything about Don Quijote, because like Hamlet, he seems to have usurped our culture in such a way that they're simply larger than the limits we know. They've been shaping our literary culture in such a profound way it's almost impossible to either approach them or given any new insight into them. That is, this comment doesn't pretend to be important in any way. And because in every instance I make clear that Bloom is an important influence in my ways of reading, I'll paraphrase him as he talks about the paradigm of how poets can't be Adams in the early morning; that there've been too many Adams that have already named everything. We simply approach wisdom and wit greater than ours, whatever we do. This is, in fact, a nicely and healthily humble way of approach Cervantes. He is one of the few Adams I can tell who have been naming everything for us.
The Introspective Narrative. So let's begin by talking about the introspective narrative. This is a term that simply refers to the self-conscious nature of narrative. If you know your Quijote, you already know exactly the things I refer to. Tristram Shandy is like this. Bulgakov, Joyce, Proust, Borges, Saramago, all of them and many more. This happens when a book is openly a book, and many times a book about books. Quijote is to me the epitome of this approach to literature, as in here the whole structure is astonishingly complicated. So complicated, in fact, that not many modern books can match this.
First, we have a book that Cervantes, the narrator, claims to have in his possession. This book is arguably written in Arabic, of which the humble narrator merely makes a translation. An interesting detail is that in Islamic countries any translation of the Qu'ran is treated only as an interpretation. If we select an approach like this it already adds another layer to the story: that what we get is not only a translation, it's an interpretation of the original. Then we have the story itself, that of an elderly man living in the villa of La Mancha, interested in romances of chivalry. What happens is like from a dream come true: the reality of this elderly man mixes with the reality (or should we say 'fiction') of the romances in a way that creates a character called Don Quijote (I rather use this spelling over Quixote) who starts to live this chivarly fiction. What happens is something unique in works that were to come: a shift of reality, where we can view both realities, occurs not mechanically but organically through the most genius device: Quijote starts to enchant Sancho Panza, who starts believing his master's fiction. Sancho is the centre of all the different kind of shifts, as there are some obvious things he recongizes as fiction, yet some he believes. And then there are stories told throughout and some of these mesh with the 'reality' we're attached to, that of Quijote/Pancha.
The latter volume takes this further. If you don't already know, there was an imitation-Cervantes publishing an alleged second part to Don Quijote. Cervantes himself addresses this in the preface, but takes it further by inserting that book into the reality of Don Quijote: Quijote, who of course is a 'fictional' character in his own world, finds out that there is a book of a hidalgo named Don Quijote that has been published and getting some widespread attention. Characters move from layer to layer, and characters that are fictional to our Sancho and company suddenly emerge in the same layer as do our heroes.
It shouldn't be that surprising that such introspection is natural and extremely organically handled in Spanish-language (or Portuguese) literature, and now cinema. Borges, an Argentine, is a literary giant who dedicated much of writings to ideas like this; Saramago, perhaps the greatest living writer alongside Harold Pinter, does the same yet with a synthesis that's highly unpredictable and shrouded into the wafflings of the narrator, as in "The Gospel According to Jesus Christ" and "Stone Raft". Gabriel García Marquez helped to create a re-emerging literary genre with his magical realism, a sort of an anti-thesis to the `artificial', that is, provocative self-reference of the works like Tristram Shandy. In cinema Julio Medem and others (Almodóvar, Cuarón, Iñárritu) are rewriting the ways in which you show narrative visually.
The Style of Cervantes: Irony & Self-Reference. The gamut of Cervantes' ironic flare is distinguishably excessive, erratic in a sophisticated way that's comparable to only that of Shakespeare or Chaucer. This is the funniest book, especially if you're into the whole self-reference thing. There is constant punning and sublime irony. Only Bulgakov is as radically and deliciously grotesque with his irony, making him the decendant of Cervantes, just as Douglas Adams could be the descendant of Lewis Carroll. The second part is more unified, but it lacks the fervent humour. But there the irony becomes organically a part of the shifting layers, and this is the birth of a kind of layered irony, where the layers themselves comment on each in an ironic way.
I haven't read Cervantes in English so I can't comment on the translation. I know it in the original Spanish and Finnish, my native language, in which we have an excellently ironic translation available. Yet if you're looking for an edition in the original Spanish, this is worthy; this is the 400th anniversary Real Academia edition I'm talking about. It has editorial insight, yet what it preserves is the beauty of Cervantes' language. Modern Spanish meanings of difficult words to comprehend are given in annotation. I've been reading this with the Finnish translation, then by itself, and it's a profound experience. And I'm really not the right person to brag about his Spanish. But this is a great edition to strengthen both your Spanish and read the great genius in his own, familiar language.
The edition itself is a hefty book, almost 1,400 pages. The paper's thin, yet the text remains readable. Of all the introducing writings, Mario Vargas Llosa's "Una novela para el siglo XXI' is the most vividly written. Also included are Francisco Ayala's "La Invención del `Quijote'" and Martín de Riquer's "Cervantes y el `Quijote'". Notes on the text are provided in summary by Francisco Rico. A glossary of words is also provided in the end of the book. Very useful, very well thought out.
A treasure of a book.
Summary of Don Quijote de la Mancha (Spanish Edition)
Launched simultaneously in Spain and the Americas, this work aims to divulge the great novel of Spanish Literature by means of a high quality, well-taken care of edition at a very reduced price. The book contains a prologue by Mario Vargas Llosa, an introductory text and complementary analysis by other academics, along with an extensive glossary of terms that will help readers get to know Cervantes? language. This beautiful hardbound edition is 5 x 8 inches, 1360 pages of fine biblical Italian paper, and will be sewn at the spine with fine vegetable thread. This work constitutes, without a doubt, the most complete, serious, high quality commemorative edition.Having an immediate success when first published 400 years ago, and with its experimental form and literary playfulness, Don Quixote has been recognized as the world?s first modern novel. Don Quixote tells the story of a middle-aged Spanish gentleman who, obsessed with the chivalrous ideals found in romantic books, decides to take up his lance and sword to defend the helpless, destroy the wicked, and win the heart of his beloved Dulcinea. Seated upon his ever so lean horse, and accompanied by the pragmatic and faithful squire Sancho Panza, Don Quixote rides the roads of Spain seeking glory and grand adventure. Along the way the duo meet a dazzling assortment of characters whose diverse beliefs and perspectives reveal how reality and imagination are frequently indistinguishable.
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