Cervantes’s interpolated novels in “The comical history of Don Quixote”

González, Raquel Serrano

doi:10.18172/cif.3017

Cuadernos de Investigación Filológica

2017

DOI: 10.18172/cif.3017

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Cervantes’s interpolated novels in “The comical history of Don Quixote”

Raquel Serrano González

Abstract: LAS NOVELAS INTERCALADAS DE CERVANTES EN THE COMICAL HISTORY OF DON QUIXOTE RESUMEN: Inmensamente populares en la Gran Bretaña del siglo XVII, los episodios intercalados de Marcela y Cardenio aparecieron en la representación de la primera adaptación teatral británica de la obra maestra de

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Cited by 2 publications

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Thomas D’Urfey’s Adaptation of Cervantes’s Quixote: The Comical History of Don Quixote

Faedo

2023

Anglia

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The Comical History of Don Quixote (1694) is one of the first dramatizations of Miguel de Cervantes’s novel in English, written in three parts. Starting with the episode of Cardenio and Luscinda in the first part, Thomas D’Urfey takes liberties with the characters and twists the plot, mixing chapters and embellishing it with songs by composer Henry Purcell and music by other contemporary artists. However, this dramatist presents us with a noble and quite sensible Don Quixote, as opposed to a histrionic Sancho, thus inverting the essence of the original characters in Cervantes’s novel.This article will analyze – from the perspective of studies on theatrical adaptation, such as Linda Hutcheon’s A Theory of Adaptation (2006) and Jane Barnette’s ADAPTURGY: The Dramaturg’s Art and Theatrical Adaptation (2018) – Thomas D’Urfey’s The Comical History of Don Quixote (1694) as an adaptation of Miguel de Cervantes’s Quixote. The author will explore the different episodes that D’Urfey chose to rewrite in the three parts of his play, analyzing the differences and similitudes between the original stories in the novel and their adapted version in the play, in order to prove that, on the one hand, Cervantes’s novel was already widely known by English audiences when D’Urfey’s plays were premiered, on the other, that he adapted the existing material to suit the preferences of English seventeenth-century audiences and, finally, that he created a parody in which Don Quixote is actually a nobler character than that of the preceding seventeenth-century adaptations.1

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Thomas D’Urfey’s Adaptation of Cervantes’s Quixote: The Comical History of Don Quixote

Faedo

2023

Anglia

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Unity-in-variety,admiratioand Verisimilitude in the Interpolated Stories ofDon Quijote, Part One

Brewer

2022

Bulletin of Hispanic Studies

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The interpolated stories included in Don Quijote, Part one have frequently been studied as oppositional to the main plot in function of thematic binaries such as literature-life, illusion-reality, truth-fiction, idealism-realism and romance-novel. An analysis of the embedded tales’ shared motifs, commonplace characterizations and structural relationship with the central narration, however, demonstrates Cervantes’s attempt to incorporate and harmonize disparate literary elements into a single narrative according to the theoretical precepts of his age, especially unity-in-variety, admiratio and verisimilitude. The interpolated stories are constructed as symmetrical patterns of recurrent tropes and themes with varying degrees of coordination with each other, as well as with the main plot. This intricate structure demonstrates the incremental nature of Cervantes’s innovation. Rather than constituting a decisive rupture with contemporary theoretical postulates, as the critical consensus holds, his approach to narrative and character develops in consonance with them.

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Cervantes’s interpolated novels in “The comical history of Don Quixote”

Cited by 2 publications

References 9 publications

Thomas D’Urfey’s Adaptation of Cervantes’s Quixote: The Comical History of Don Quixote

Thomas D’Urfey’s Adaptation of Cervantes’s Quixote: The Comical History of Don Quixote

Unity-in-variety,admiratioand Verisimilitude in the Interpolated Stories ofDon Quijote, Part One

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