"Don Quixote" as a Funny Book

Russell, P. E.

doi:10.2307/3723440

Cited by 35 publications

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“…Don Quijote was perceived by almost all of its contemporaries as a funny book, a comic satire of the romances of chivalry and little more -and a few modern scholars still hold tenaciously to that opinion (e.g., Russell 1969;Close 1978Close , 2000, just as there is a strain of Celestina criticism that holds tenaciously to the opinion that it is a humanistic comedy. But today we know that while Cervantes's novel is indeed a funny book, a literary satire, and all that, it is also much, very much, more.…”

Section: -Marcelmentioning

confidence: 99%

<i>La Celestina</i>: A Novel

Mancing¹

2021

Celestinesca

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En este ensayo propongo que La Celestina debe leerse como una novela. La obra es imposible de representar en el teatro: no es un drama. Tampoco es una comedia humanística ni en su forma ni en su espíritu. Que una novela puede escribirse en la forma de una serie de cartas no es controvertido, a pesar de que carece de narrador. De igual modo hay —como ha explicado Cervantes en la introducción al Coloquio de los perros— un lazo implícito narrativo entre los segmentos de diálogo. La Celestina es una obra renacentista (y no medieval) y se ha leído siempre como novela. Es, en efecto, la primera gran novela de la edad de la imprenta.

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Section: -Marcelmentioning

confidence: 99%

<i>La Celestina</i>: A Novel

Mancing¹

2021

Celestinesca

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“…It is difficult for a reader well-acquainted with the saint's verses to not recognize that Cervantes must be alluding to the works of the Carmel Reformer. Of course, he did so between the lines, since it was a dangerous matter to quote from St. John of the Cross, whom St. Teresa referred to as "mi senequita", 16 in the same carnivalesque fashion as that employed in Don Quixote's and Sancho's funny book (Russell 1969). Cervantes bordered on impropriety and even sacrilege.…”

Section: A Bit Of History: the Transfer Of Saint John Of The Cross's Remains From úBeda To Segoviamentioning

confidence: 99%

Don Quixote and Saint John of the Cross’s Spiritual Chivalry

López‐Baralt

2021

Religions

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Despite its ludic appearance, “The adventure Don Quixote had with a dead body” (part I, chapter XIX) is one of the most complex pieces of Cervantes’ famous novel. In the midst of a dark night, the Manchegan knight errant confronts an otherwordly procession of robed men carrying torches who transport a dead “knight” on a bier. Don Quixote attacks them to “avenge” the mysterious dead man, discovering they were priests secretly taking the body from Baeza to Segovia. He wants to see face to face the relic of the dead body, but humbly turns his back, avoiding the “close encounter”. Curiously enough, his easy victory renders him sad. Cervantes is alluding to the secret transfer of St. John of the Cross’ body from Úbeda to Segovia, claimed by the devoted widow Doña Ana de Peñalosa. However, Cervantes is also establishing a surprising dialogue with St. John’s symbolic “dark night”, in which he fights as a brave mystical knight. Concurrently, he is quoting the books of chivalry‘s funeral processions and the curiosity of the occasional knight who wants to glance at the dead body. Furthermore, we see how extremely conversant the novelist is with the religious genre of spiritual chivalry, strongly opposed to the loose fantasy of the books of chivalry. Unable to look at St. John’s relic, an authentic knight of the heavenly militia, Don Quixote seems to silently acknowledge that there are higher chivalries than his own that he will never reach. No wonder he ends the adventure with a sad countenance, gaining a new identity as the “Caballero de la Triste Figura”.

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“…8 La distracción que propongo fue practicada asimismo por algunos comentaristas, como Russell (1969), Close (2007) o Redondo (2011: 41-62), con la precipitada conclusión de que el Quijote es una obra cómica, de entretenimiento. Pero no creo que este pequeño error de juventud nos impida seguir esta línea crítica consistente en devolver al segundo Quijote al principio del siglo XVII.…”

Section: Las Piezas Del Inicio: El Pacto Supersticioso De Lecturaunclassified

LA TRAMA PRIMERA DE LA SEGUNDA PARTE Y EL VIAJE A ZARAGOZA (Tramas del Quijote —II—)

Darnis

2018

Esferas_Literarias

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¿Por qué se dirige don Quijote hacia Zaragoza en la Segunda parte? Este artículo señala el trasfondo histórico y biográfico que da sentido al viaje menipeo del hidalgo. Si al principio del libro de 1615 don Quijote sigue la idea del cura pretendiendo ir a luchar contra el Turco, el episodio de la cueva de Ruidera interpretado a la luz del romance simultáneamente retrospectivo y profético de Gaiferos, muestra que el encantamiento padecido por Montesinos, Durandarte, Belerma y Dulcinea se corresponde simbólicamente con el de los cautivos en Argel.

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"Don Quixote" as a Funny Book

Cited by 35 publications

References 0 publications

<i>La Celestina</i>: A Novel

<i>La Celestina</i>: A Novel

Don Quixote and Saint John of the Cross’s Spiritual Chivalry

LA TRAMA PRIMERA DE LA SEGUNDA PARTE Y EL VIAJE A ZARAGOZA (Tramas del Quijote —II—)

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