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 THE WIT AND WISDOM OF

Don Q uixote
DE LA MANCHA

Edited and with an Introduction

by
Harry Sieber
Copyright © 2005 by The McGraw-Hill Companies, Inc. All rights reserved. Manufactured in the
United States of America. Except as permitted under the United States Copyright Act of 1976, no
part of this publication may be reproduced or distributed in any form or by any means, or stored in a
database or retrieval system, without the prior written permission of the publisher.

0-07-146948-6

The material in this eBook also appears in the print version of this title: 0-07-145095-5.

All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after
every occurrence of a trademarked name, we use names in an editorial fashion only, and to the
benefit of the trademark owner, with no intention of infringement of the trademark. Where such
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[email protected] or (212) 904-4069.

TERMS OF USE

This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its
licensors reserve all rights in and to the work. Use of this work is subject to these terms. Except as
permitted under the Copyright Act of 1976 and the right to store and retrieve one copy of the work,
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cause whatsoever whether such claim or cause arises in contract, tort or otherwise.

DOI: 10.1036/ 0071469486

 For more information about this title, click here

Contents

Introduction vii

Our Players 1

Adversity 7

Arms and the Man 9

Beauty 13

Character 15

Courage 18

Death and Dread 20

The Devil 25

Diligence 27

Etiquette and Decorum 30

Experience 33

Fame, Honor, and Reputation 36

iii
 Contents

Fortune 40

Friendship and Generosity 43

God and Faith 46

Governance and Justice 51

History 57

Hope 59

Human Nature 61

Hunger 64

Life as a Game; Life as a Play 67

The Literary Arts 69

Love and Marriage 74

Madness and Foolishness 80

Men and Women 83

Nature 86

Olla Podrida: A Miscellany 89

Peace and Liberty 94

Poverty 97

Prosperity 101

iv
 Contents

Prudence 105

The Quest 108

Sleep 112

Time 114

Touché: Insults and Ridicule 117

Truth 123

Vice 125

Virtue 129

Wisdom and Learning 133

Don Quixote’s Epitaph 136

A Note on the Themes 139

v
This page intentionally left blank.
 Introduction

Miguel de Cervantes Saavedra, Spain’s greatest literary fig-

ure, came of age as advances in information technology and
the expansion of educational opportunities transformed
Western Europe. Previously, reading had been the privilege
of a small, educated elite, those with sufficient wealth or
influence to acquire literacy skills and manuscripts. The
world of words changed rapidly after the invention of the
printing press in the fifteenth century. Europeans now pos-
sessed a relatively inexpensive means to reproduce books
and circulate them in multiple copies. Spanish university
towns had presses by the 1480s.A century later there were
printers in most major cities and towns, producing a vari-
ety of texts for an expanding audience.
Literacy rates rose because of a parallel revolution in
education. Spain had only six universities in 1470, yet there
were thirty-two by the time Cervantes published Don
Quixote de la Mancha. In the second half of the sixteenth
century, Jesuits founded grammar schools in most large
Spanish population centers, and many smaller municipali-
ties hired schoolmasters to establish primary and secondary
schools. Spaniards in ever-increasing numbers learned to

vii

Copyright © 2005 by The McGraw-Hill Companies, Inc. Click here for terms of use.
 Introduction

read while Cervantes was pondering his career choices.

What they chose to read was another matter.
Readers demanded news and entertainment. Spain
was the leading superpower of the sixteenth century, chal-
lenging other emerging nation-states in Europe and wag-
ing sporadic war against the Ottoman Turks in the
Mediterranean.While Spanish armies conquered the Amer-
icas, Spanish fleets explored previously unknown oceans.
Printed broadsheets allowed the public to read the latest
news from the battlefront.
Those who read for pleasure preferred adventure sto-
ries with a martial twist. Romances of chivalry, recounting
the exploits of valiant knights and their ladies, dominated
the Spanish fiction market in the half-century before the
birth of Cervantes. Their warrior-heroes, whose origins
were often shrouded in mystery, traversed alien landscapes
defending the helpless and combating evil. They battled
giants and rescued damsels, sometimes using magic weapons
and the aid of enchanters.These knights vanquished suc-
cessive challengers, decapitating and dismembering their
foes. The texts described superhuman exploits in graphic
and gory detail.
Moralists decried the content of chivalric romances.
Books populated by giants, dwarfs, and overendowed men
and women and accounts of the supernatural, magic, and
enchantment seemed dangerous. Critics asserted that the
secret births and adulterous relationships described were

viii
 Introduction

morally reprehensible and that the reading of such material

was more than a waste of valuable time.They suggested that
such works might be addictive, stimulating a desire to read
other dangerous books. Readers would inevitably neglect
their moral and social responsibilities. Despite the warnings,
romances of chivalry had widespread appeal, feeding a
seemingly insatiable appetite for imaginative fiction. Pub-
lishing became a lucrative industry as printers sought new
copy to occupy their workshops, booksellers searched for
new products to peddle, and readers demanded new
entertainments.
Miguel de Cervantes entered this changing world in
1547, born in Alcalá de Henares, a university town near
Madrid, where he was baptized on October 9 in the parish
church of Santa María.We know little about his early life.
He was the fourth of seven children, born to an itinerant
surgeon who struggled to maintain his practice and his fam-
ily by traveling the length and breadth of Spain. Cervantes
received some early formal education in the school of the
Spanish humanist Juan López de Hoyos, who was teaching
in Madrid in the 1560s. His first literary efforts, poems writ-
ten to commemorate the death of the Spanish queen, date
from this period. Despite these early publications, nothing
in the years that followed suggested that the young man
would become Spain’s most respected writer.
Cervantes suffered from both bad luck and bad timing.
As a twenty-one-year-old student, he wounded another

ix
 Introduction

man in a duel.When a warrant was issued for his arrest in

1569, Cervantes fled to Seville, then to Rome, where he
served in the household of an Italian nobleman. He joined
the Spanish army a year later. At the Battle of Lepanto in
1571, he received serious wounds and lost the use of his left
hand.After a lengthy recovery and further military service,
he departed Italy for Spain in 1575, only to be captured by
Barbary pirates during the return journey. He was taken to
Algiers and imprisoned for five years, until Trinitarian friars
paid a considerable sum for his ransom. This experience
would leave an indelible mark on his later work, which con-
tains numerous references to the themes of freedom and
captivity.The disabled veteran returned to Spain deeply in
debt for the ransom paid to gain his release. In 1584, Cer-
vantes applied for a government position in the New World
but was turned down.At the age of thirty-seven, he married
a woman almost twenty years his junior and obtained
employment as a government agent in southern Spain, req-
uisitioning wheat and olive oil for the Invincible Armada
(1588).Within two years of the defeat of the Armada, he
again requested permission to emigrate to the Americas, but
his petition was rejected and he was told to find some gain-
ful employment “at home.”
Thus Cervantes, already known as a promising
author, began his career as a writer. In 1585, he had pub-
lished his first work in prose, the Galatea, a pastoral

x
 Introduction

romance that attracted qualified praise from some of his

contemporaries. He began writing for the theater and
composing short stories, some of which were later
included in his Exemplary Tales. His most famous work,
Don Quixote de la Mancha, was published in two parts in
Madrid. Part One appeared in 1605 and the second part
in 1615.The novel was an immediate success.The first part
went through six editions in the year of its publication and
was soon translated into English and French.The fame of
Don Quixote brought Cervantes to the attention of a wide
audience. After 1605, his work was in demand. His col-
lection of short stories appeared in Madrid in 1613; his
satiric poem Journey to Parnassus was published a year later;
and in 1615, Cervantes was able to publish some theatri-
cal works that had never been presented on stage. His final
prose fiction, The Travails of Persiles and Sigismunda, whose
dedication he finished four days before he died, was
assessed by Cervantes as among the best of his work, com-
peting even with the writings of the legendary Greek
author Heliodorus.
Despite his national and international reputation, his
death, probably on April 22, 1616, seems to have gone vir-
tually unnoticed by his contemporaries. Cervantes was
buried on April 23, 1616, in a Trinitarian monastery a few
blocks from his Madrid home, but the specific location of
his tomb is unknown.

xi
 Introduction

Don Quixote de la Mancha

Cervantes’s masterpiece narrates the adventures of an aging
gentleman driven mad by misreading popular fiction.
Alonso Quijano believes that the tales of chivalry in the
books he reads are literally true. Quijano reinvents himself
as the knight-errant Don Quixote and abandons his home
to search for adventure on the highways and in the rural
landscape of imperial Spain. Like the gallant knights he has
read about, Don Quixote hopes to right all manner of
wrongs and to gain fame for his valorous deeds.To serve as
his squire, Don Quixote selects his neighbor Sancho Panza,
an illiterate but shrewd peasant primarily interested in eat-
ing and drinking. Don Quixote sets forth to impose the
code of chivalry on all those he encounters. Sancho follows
him in search of prosperity, believing Quixote’s promise
that after faithful service he will be rewarded with an island
kingdom that he alone will rule.The two prove to be most
incompatible travel companions. Don Quixote views the
world through a fog of literary illusion; Sancho Panza sees
only material reality. When the knight and his squire
observe clouds of dust on the horizon, Don Quixote per-
ceives two armies at war, while Sancho correctly identifies
them as passing flocks of sheep.When Don Quixote is con-
vinced that the windmills he encounters are giants, Sancho
rightly insists that they are only windmills. In the conflict
between art and nature, nature often gains the upper hand.

xii
 Introduction

Part One of the novel takes Don Quixote from his

small village in la Mancha to the forests of the Sierra
Morena, then returns him to the village to recuperate from
multiple injuries inflicted at the hands of real and imagined
enemies. Don Quixote meets a variety of characters on his
journey, peasants and noblemen, criminals and priests, pros-
titutes and insane lovers, wronged women and jealous men.
Cervantes uses the encounters to satirize the society in
which they all exist and to comment on the codes of
behavior reflected in their actions and life stories. Charac-
ters exchange views on love, both courtly and conjugal, and
on chivalry, particularly the comical chivalry practiced by
Don Quixote.
The second part of the novel, composed after the suc-
cess of Part One and published ten years later, is more com-
plex. Don Quixote and Sancho meet characters who have
read the first part of the novel and thus already know about
the pair’s previous adventures. Instead of confronting what
each perceives to be “reality,” as they did earlier in the novel,
Don Quixote and Sancho participate in adventures that are
staged by and created for the benefit and amusement of the
other characters.The Baroque metaphor of the world as a
theatrical stage, familiar to all readers of Elizabethan drama,
literally becomes true within the world of the novel.The
consequences of this shift are profound. Role-playing and
insanity become confused. Both Don Quixote and Sancho

xiii
 Introduction

inhabit a world created by human artifice and imagination.

Don Quixote gradually regains his senses in Part Two,
driven to sanity by the eccentric, and sometimes demented,
behavior of the characters he has encountered.
The early readers of Cervantes’s masterpiece, in Spain
and beyond, enjoyed Don Quixote as farce, almost a comic
book character. He journeys through their seventeenth-
century world, proclaiming the ideals of medieval knight-
hood. His squire is a practical peasant, more concerned with
personal biology than with chivalry.The absurd misadven-
tures of this unlikely pair are the stuff of slapstick comedy.
Cervantes clearly intended to evoke laughter, often at the
expense of his protagonists, but the author also uses the
hyperliterate knight and his illiterate sidekick to explore the
more serious relationship between literature and experi-
ence. Cervantes exploits the comedic consequences of
madness, but his underlying focus is an investigation of the
impact and influence that books exert on the behavior of
readers, both within and beyond his text. Like Don
Quixote, many of the characters who inhabit the world of
the novel are avid readers.The author is more interested in
how his characters read than in what they read.
The novel is about the complex relationship between
reading and experience. For Cervantes, imaginative litera-
ture, condemned by moralists and church authorities alike,
is the vehicle through which he can address the idea of
reading and explore how readers comprehend reality and

xiv
 Introduction

construct meaning by applying different reading strategies.

Don Quixote loves to read fiction.And that, Cervantes tells
us, is fine. There is nothing wrong with getting lost in a
good book. Don Quixote gets into trouble when he begins
to interpret events in the world around him as extensions
of the fiction he has read.That, Cervantes warns us, is mad-
ness. Those who choose this reading strategy lose their
identity.

Proverbs and Wit

Many of the observations in Don Quixote are expressed
through proverbs, generally understood to be brief and
witty sayings that reflect folk wisdom. Cervantes defined
proverbs as “short sentences dictated by long and sage expe-
rience” (Smollett I, iv, 12; DQ I, 39). “Every proverb is
strictly true; all of them are apothegms dictated by experi-
ence herself ” (I, iii,7; DQ I, 21).Their topics are as varied
as human experience itself: love, marriage, fear, superstition,
religion, good, evil, fate, life and death, honor, justice, gov-
ernance, courtesy, liberality, opportunity, hope, nobility, hap-
piness, and truth.Their origin can be classical or biblical as
in the Aphorisms of Hippocrates or the Book of Proverbs.
Others are popular in nature, drawn from oral tradition.
Whether they are called proverbs, apothegms, aphorisms,
maxims, or adages, they convey insights into and assessments
of human behavior to readers and listeners. Cervantes warns

xv
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