Unamuno's “Quixotism”

Total Page:16

File Type:pdf, Size:1020Kb

Unamuno's “Quixotism” The Pennsylvania State University The Graduate School College of the Liberal Arts FLESH AND BONE: UNAMUNO’S “QUIXOTISM” AS AN INCARNATION OF KIERKEGAARD’S “RELIGIOUSNESS A” A Dissertation in Philosophy By Mary Ann Alessandri © 2010 Mary Ann Alessandri Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2010 ii The dissertation of Mary Ann Alessandri was reviewed and approved* by the following: Shannon Sullivan Professor of Philosophy, Women’s Studies and African and African American Studies Head of the Department of Philosophy Dissertation Adviser Co-Chair of Committee Daniel Conway, Professor and Department Head Philosophy Department, Texas A&M University Co-Chair of Committee Special Member Brady Bowman Assistant Professor of Philosophy John P. Christman Associate Professor of Philosophy and Political Science Nicolás Fernández-Medina Assistant Professor of Spanish Literature, Department of Spanish, Italian and Portuguese *Signatures are on file in the Graduate School. iii ABSTRACT My dissertation explores the philosophical kinship between the existentialist thinkers Søren Kierkegaard (1813-1855) and Miguel de Unamuno (1864-1936) in an attempt to resurrect an ethically religious way of life. In Kierkegaard’s writings one can find a description of a passionately committed way of life that is distinguishable from both his conception of ethics and his version of Christianity. He calls this form of ethical religion or religious ethics “Religiousness A,” but he fails to give a vivid illustration of it that definitively distinguishes it from ethics and Christianity. As a result, the scholarship on Religiousness A is impoverished, and what would otherwise amount to a promising new way of being religious in a secular world has been largely regarded as unimportant or simply a watered-down version of Christianity. Miguel de Unamuno (1864-1936) read the complete works of Kierkegaard in the original Danish, and he was largely responsible for introducing Kierkegaard to the Spanish-speaking world. Unamuno’s Quixotism, modeled after Miguel de Cervantes’ fictional hero Don Quixote, unites passion with commitment while emphasizing community, effectively combining the best aspects of both ethics and Christianity while rejecting their mythic incompatibility. In other words, Unamuno’s Quixotism is a vivid example of Kierkegaard’s Religiousness A. In short, Kierkegaard theoretically developed but did not describe Religiousness A, and Unamuno described but did not theoretically develop Quixotism. Given this state of affairs, my dissertation has two main goals: 1) to argue for the value of Religiousness A on the basis that it is a robust and attractive way of life that combines the passionate elements of Kierkegaard’s Christianity with the communally committed aspects of Kierkegaard’s ethics, and 2) to develop Unamuno’s Quixotism as a working model of Religiousness A in order to give flesh to the ways in which Religiousness A is neither ethics nor Christianity. My dissertation is comprised of four chapters: in the first, I give an overview of Kierkegaard’s ethics, concluding that in his pseudonymous works there is not just one but two portraits of ethics. This will be useful for assessing which portrait of religion presented in the next chapter is compatible with ethics. In chapter two I revive Religiousness A as it is described by Johannes Climacus in Concluding Unscientific Postscript (1846). After analyzing the other versions of religion that Kierkegaard provides (which I consider to be undesirable and unlivable), I make the case for the recovery of Religiousness A on the grounds that it is an ethical religion, but it is also a passionate religion. In chapter three I turn to Unamuno, whose descriptions of Quixotism in Vida de Don Quijote y Sancho (1905), Tragic Sense of Life (1913), and Manual de Quijotismo (1924-1931) are vivid if not theoretical, and I combine and analyze them in order to develop Quixotism as a robust religion instead of as a mere portrait. In chapter four I combine the language of Kierkegaard and Unamuno to show how Quixotism can be read as a concrete example of Religiousness A. Ultimately, I conclude that Kierkegaard’s Religiousness A, incarnated as it is in Unamuno’s Quixotism, is a desirable way of life, because it combines passion with commitment and community. In short, Unamuno’s underdeveloped Quixotism could be read as a prime example of Kierkegaard’s undervalued Religiousness A, and as such it can help us understand Religiousness A, which both points out the philosophical distinctions between ethics and religion, and still provides a vision of how they might be peacefully united. iv Contents Abbreviations .................................................................................................................................. vi Acknowledgements ......................................................................................................................... vii Introduction ......................................................................................................................................1 Philosophy, Religion and Ethics ............................................................................................................... 6 Why Unamuno and Kierkegaard? ............................................................................................................. 7 Kierkegaard’s Influence on Unamuno .................................................................................................. 8 The Difficulties of Reading Kierkegaard and Unamuno .................................................................... 10 Kierkegaard and Unamuno on Irrationalism ....................................................................................... 12 Prophetic Nationalism ......................................................................................................................... 16 Kierkegaard and Unamuno’s Inconsistent Relationship to Don Quixote ........................................... 18 Outline of the Dissertation ...................................................................................................................... 19 Chapter 1: Kierkegaard’s Ethical Spheres...................................................................................... 22 The Aesthetic .......................................................................................................................................... 29 The Ethical In Either/Or ......................................................................................................................... 31 The Ethical in Concluding Unscientific Postscript ................................................................................. 40 The Ethical in Fear and Trembling ......................................................................................................... 44 The Tragic Hero .................................................................................................................................. 49 The Ethical as the Universal ............................................................................................................... 51 Chapter 2: Kierkegaard’s Religious Spheres .................................................................................. 53 Fear and Trembling’s “Faith” ................................................................................................................. 54 The Paradox ........................................................................................................................................ 57 The Teleological Suspension of the Ethical ........................................................................................ 62 The Tragic Hero Revisited .................................................................................................................. 65 Postscript’s Religiousness B ................................................................................................................... 67 The Absurd ......................................................................................................................................... 69 The Offense......................................................................................................................................... 75 Postscript’s Religiousness A .................................................................................................................. 78 Religiousness A is Distinguishable from Kierkegaardian Ethics ....................................................... 80 Dying to Oneself ............................................................................................................................ 80 Venture, Faith, and Lunacy ............................................................................................................ 82 Suffering ........................................................................................................................................ 85 Why Religiousness A? ............................................................................................................................ 88 Chapter 3: Unamuno’s Quixotism .................................................................................................. 96 v Unamuno and Quixote: A Brief History ................................................................................................. 98 Unamuno’s Quixote .............................................................................................................................
Recommended publications
  • Don Quixote and Legacy of a Caricaturist/Artistic Discourse
    Don Quixote and the Legacy of a Caricaturist I Artistic Discourse Rupendra Guha Majumdar University of Delhi In Miguel de Cervantes' last book, The Tria/s Of Persiles and Sigismunda, a Byzantine romance published posthumously a year after his death in 1616 but declared as being dedicated to the Count of Lemos in the second part of Don Quixote, a basic aesthetie principIe conjoining literature and art was underscored: "Fiction, poetry and painting, in their fundamental conceptions, are in such accord, are so close to each other, that to write a tale is to create pietoríal work, and to paint a pieture is likewise to create poetic work." 1 In focusing on a primal harmony within man's complex potential of literary and artistic expression in tandem, Cervantes was projecting a philosophy that relied less on esoteric, classical ideas of excellence and truth, and more on down-to-earth, unpredictable, starkly naturalistic and incongruous elements of life. "But fiction does not", he said, "maintain an even pace, painting does not confine itself to sublime subjects, nor does poetry devote itself to none but epie themes; for the baseness of lífe has its part in fiction, grass and weeds come into pietures, and poetry sometimes concems itself with humble things.,,2 1 Quoted in Hans Rosenkranz, El Greco and Cervantes (London: Peter Davies, 1932), p.179 2 Ibid.pp.179-180 Run'endra Guha It is, perhaps, not difficult to read in these lines Cervantes' intuitive vindication of the essence of Don Quixote and of it's potential to generate a plural discourse of literature and art in the years to come, at multiple levels of authenticity.
    [Show full text]
  • 3. Historia Y Ciencias Sociales: España*
    Rev29-03 26/2/08 12:29 Página 261 3. Historia y ciencias sociales: España* Tobias Brandenberger/Henry Thorau fundamente arraigados que se encuentran (eds.): Portugal und Spanien: Probleme los prejuicios culturales en los imagina- (k)einer Beziehung. Portugal e Espanha: rios colectivos de nuestros pueblos, que Encontros e Desencontros. Frankfurt/ cuentan con una tradición plurisecular, y, M., etc.: Lang 2005. 336 páginas. en consecuencia, lo difícil que resulta lle- var a cabo el proyecto de integración euro- Los profesores de literatura española y peo. La Unión Europea representa por portuguesa de la Universidad de Basilea ello, también, una auténtica revolución (T. Brandenberger) y de literatura portu- cultural que está permitiendo cambiar guesa de la Universidad de Treveris (H. nuestra mirada sobre el otro sustituyendo, Thorau) han editado un volumen colectivo paso a paso, el recelo, por la empatía. que reúne a un nutrido grupo de especia- Una obra colectiva de estas caracterís- listas portugueses, alemanes y españoles, ticas, tan plural y diversa tanto en el pero también suizos y brasileños, que tra- número de autores como en su proceden- tan diversos temas de la literatura hipano- cia geográfica y profesional así como portuguesa desde la Edad Media hasta la sobre los temas que son tratados, resulta actualidad. Independientemente de la necesariamente irregular. No, desde luego, nacionalidad del autor, las aportaciones por la calidad de las investigaciones, sino están escritas mayoritariamente en portu- por su heterogeneidad. Desde las crónicas gués, algunas en alemán y excepcional- medievales al teatro del Siglo de Oro, mente en español. El enfoque común de desde el ensayo político decimonónico al esta veintena de artículos es el análisis de desigual tratamiento de la publicidad en las imágenes cruzadas que sobre el vecino las revistas femeninas actuales de los dos ibérico ha ofrecido la literatura de cada países, el libro ofrece un panorama más país a lo largo de la historia, reflejo de esa que amplio, disperso.
    [Show full text]
  • Lluís De Zulueta
    Lluís de Zulueta LLUÍS DE ZULUETA, UN DELS PRIMERS IL·LUSTRES ESTIUEJANTS DE VILASSAR DE MAR Jordi Pomés1 (Dr. En història) Lluís de Zulueta i Escolano (1878-1964), polític republicà, pedagog i escriptor, és una figura força desconeguda en l’àmbit de la historiografia contemporània, tot i que va arribar a ser ministre durant la Segona República, concretament ministre d’Estat entre 1931 i 1933, ambaixador espanyol a Alemanya i al Vaticà el 1933 i 1936 respectivament, a més de ser un dels pedagogs més importants del segle XX espanyol; va ser professor catedràtic de l’Escola Superior de Magisteri de Madrid des de 1910 i va escriure moltes i brillants pàgines dedicades a la pedagogia2. Precisament la seva figura històrica ha merescut més atenció en aquesta disciplina que en el de la història3. Lluís de Zulueta va estiuejar a Vilassar de Mar entre 1880, l’any en què el seu pare va comprar l’anomenada finca de Can Cuyàs, i principis dels anys vint, en què, per motius fonamentalment econòmics, s’hagué de vendre aquesta finca. Aquests més de quaranta anys de visites més o menys llargues en aquesta població costanera van suposar per a Zulueta no pocs aprenentatges per a la seva formació com a home il·lustrat del país. Es pot dir que Vilassar de Mar va ser un dels referents geogràfics més importants en la vida de Lluís Zulueta i la seva família. Malgrat que a partir de 1909 s’establí definitivament a Madrid, fonamentalment per haver trobat en aquesta ciutat la seva principal ocupació professional i font d’ingressos, una plaça de professor a l’esmentada Escola Superior de Magisteri, continuà visitant i estiuejant a Vilassar cada estiu.
    [Show full text]
  • “Ella Pelea En Mí Y Vence En Mí”: Dulcinea, Ideal Amoroso Del Caballero De La Voluntad
    “Ella pelea en mí y vence en mí”: Dulcinea, ideal amoroso del Caballero de la Voluntad CARLOS MATA INDURÁIN* ulcinea es un personaje complejo, cuyo análisis puede ser abordado –así D lo ha hecho la crítica– desde muy diversas perspectivas: se puede anali- zar su figura como componente de la materia amorosa, que forma junto con la materia caballeresca y la literaria los tres grandes núcleos temáticos del Quijote; se puede estudiar su función estructural (Dulcinea al servicio de la narración: pienso especialmente en todo lo relacionado con su encantamien- to y su desencantamiento en la Segunda Parte); se puede poner en relación con el estatus de la locura de don Quijote y la evolución de su carácter en las dos Partes, y con la problemática relación que se establece en la novela entre realidad y ficción, o entre apariencia y realidad; en este sentido, Dulcinea es también un factor determinante en la relación entre el caballero y su escude- ro Sancho Panza; la dualidad Dulcinea-Aldonza brinda abundantes momen- tos para la comicidad y la parodia, en pasajes que permiten la conformación de un mundo carnavalesco; se puede abordar el estudio de Dulcinea desde el psicoanálisis y la sexualidad1, etc., etc. Además, debemos partir del hecho fundamental de que Dulcinea es un personaje que no existe, que es la creación de una creación: Dulcinea es una invención de don Quijote de la Mancha, que a su vez es una invención de Alonso Quijano (que, a su vez, es una invención de Cervantes). Incluso po- * GRISO-Universidad de Navarra 1 Véase la Bibliografía final, y especialmente Javier S.
    [Show full text]
  • Las Transformaciones De Aldonza Lorenzo
    Lemir 14 (2010): 205-215 ISSN: 1579-735X ISSN: Las transformaciones de Aldonza Lorenzo Mario M. González Universidade de São Paulo RESUMEN: Aldonza Lorenzo aparece en el Quijote tan solo como la base real en que se apoya la creación de la dama del caballero andante, Dulcinea del Toboso, a partir del pasado enamoramiento del hidalgo por la labradora. No obstante, permanece en la novela como una referencia tanto para don Quijote como para su escudero. Para el caballero, lo que permite esa aproximación es la hermosura y la honestidad de una y otra, exacta- mente los atributos que Sancho Panza niega radicalmente en Aldonza para crear lo que puede llamarse una «antidulcinea». A la obsesión de don Quijote por desencantar a Dulcinea, parecería subyacer la de salvar la hermosura y honestidad de Aldonza Lorenzo. De hecho, cuando todos los elementos de la realidad son paulatinamente recuperados por el caballero en su vuelta a la cordura, la única excepción es Aldonza Lo- renzo, de quien Alonso Quijano sugestivamente nada dice antes de morir. ABSTRACT: Aldonza Lorenzo appears in Cervantes’s Don Quixote merely as the source that gave birth to the knight- errant’s imagined ladylove Dulcinea del Toboso ever since the Hidalgo fell in love with the farm girl in the past. However, Aldonza Lorenzo remains a reference to Don Quixote and his squire Sancho Panza throughout the novel. For the knight, beauty and honesty aproximate both girls, the real and the imagi- nary, while his squire denies those virtues in Aldonza creating what can be defined as an «anti-dulcinea».
    [Show full text]
  • ISCHE 2014 Book of Abstracts
    i Published 2014 by ISCHE. ISSN 2313-1837 These abstracts are set in Baskerville Old Face, designed in 1757 by John Baskerville in Birmingham, UK. A writing master, businessman, printer and type designer, he conducted experiments to improve legibility which also included paper making and ink manufacturing. In 1758, he was appointed printer to Cambridge University Press, and despite his personal Atheism, printed a folio Bible in 1763. His typefaces were greatly admired for their simplicity and refinement by Pierre Simon Fournier, and Giambattista Bodoni. Benjamin Franklin, printer and fellow member of the Royal Society of Arts, took the designs to the US, where they were adopted for most federal Government publishing. Baskerville type was revived in 1917 by Harvard University Press and may nowadays be found in Microsoft Word. ii Contents Welcome p. iii Acknowledgements p. viii Conference theme p. x Keynotes: biographies and abstracts p. xi Early career bursaries p. xiv Brian Simon bursaries p. xv Guide to using abstract book p. xvi Abstracts of papers p. 1 (In alphabetical order of authors) Synopses of panels p. 385 (In order of sessions presented at conference) Name index / list of presenters p. 422 iii Welcome To all delegates at ISCHE 36 – a very warm welcome to London! We are looking forward very much indeed to hosting this great event, exploring the immense theme of education, war and peace. My thanks go first of all to the ISCHE executive committee for supporting this event, to the UK History of Education Society as the national hosts, and to the Institute of Education at the University of London for the use of its extensive facilities for the conference.
    [Show full text]
  • Is There a Hidden Jewish Meaning in Don Quixote?
    From: Cervantes: Bulletin of the Cervantes Society of America , 24.1 (2004): 173-88. Copyright © 2004, The Cervantes Society of America. Is There a Hidden Jewish Meaning in Don Quixote? MICHAEL MCGAHA t will probably never be possible to prove that Cervantes was a cristiano nuevo, but the circumstantial evidence seems compelling. The Instrucción written by Fernán Díaz de Toledo in the mid-fifteenth century lists the Cervantes family as among the many noble clans in Spain that were of converso origin (Roth 95). The involvement of Miguel’s an- cestors in the cloth business, and his own father Rodrigo’s profes- sion of barber-surgeon—both businesses that in Spain were al- most exclusively in the hand of Jews and conversos—are highly suggestive; his grandfather’s itinerant career as licenciado is so as well (Eisenberg and Sliwa). As Américo Castro often pointed out, if Cervantes were not a cristiano nuevo, it is hard to explain the marginalization he suffered throughout his life (34). He was not rewarded for his courageous service to the Spanish crown as a soldier or for his exemplary behavior during his captivity in Al- giers. Two applications for jobs in the New World—in 1582 and in 1590—were denied. Even his patron the Count of Lemos turn- 173 174 MICHAEL MCGAHA Cervantes ed down his request for a secretarial appointment in the Viceroy- alty of Naples.1 For me, however, the most convincing evidence of Cervantes’ converso background is the attitudes he displays in his work. I find it unbelievable that anyone other than a cristiano nuevo could have written the “Entremés del retablo de las maravi- llas,” for example.
    [Show full text]
  • Exhibition Booklet, Printing Cervantes
    This man you see here, with aquiline face, chestnut hair, smooth, unwrinkled brow, joyful eyes and curved though well-proportioned nose; silvery beard which not twenty years ago was golden, large moustache, small mouth, teeth neither small nor large, since he has only six, and those are in poor condition and worse alignment; of middling height, neither tall nor short, fresh-faced, rather fair than dark; somewhat stooping and none too light on his feet; this, I say, is the likeness of the author of La Galatea and Don Quijote de la Mancha, and of him who wrote the Viaje del Parnaso, after the one by Cesare Caporali di Perusa, and other stray works that may have wandered off without their owner’s name. This man you see here, with aquiline face, chestnut hair, smooth, unwrinkled brow, joyful eyes and curved though well-proportioned nose; silvery beard which not twenty years ago was golden, large moustache, small mouth, teeth neither small nor large, since he has only six, and those are in poor condition and worse alignment; of middling height, neither tall nor short, fresh-faced, rather fair than dark; somewhat stooping and none too light on his feet; this, I say, is the likeness of the author of La Galatea and Don Quijote de la Mancha, and of him who wrote the Viaje del Parnaso, after the one by Cesare Caporali di Perusa, and other stray works that may have wandered off without their owner’s name. This man you see here, with aquiline Printingface, chestnut hair, smooth,A LegacyCervantes: unwrinkled of Words brow, and Imagesjoyful eyes and curved though well-proportioned nose; Acknowledgements & Sponsors: With special thanks to the following contributors: Drs.
    [Show full text]
  • The Universal Quixote: Appropriations of a Literary Icon
    THE UNIVERSAL QUIXOTE: APPROPRIATIONS OF A LITERARY ICON A Dissertation by MARK DAVID MCGRAW Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Chair of Committee, Eduardo Urbina Committee Members, Paul Christensen Juan Carlos Galdo Janet McCann Stephen Miller Head of Department, Steven Oberhelman August 2013 Major Subject: Hispanic Studies Copyright 2013 Mark David McGraw ABSTRACT First functioning as image based text and then as a widely illustrated book, the impact of the literary figure Don Quixote outgrew his textual limits to gain near- universal recognition as a cultural icon. Compared to the relatively small number of readers who have actually read both extensive volumes of Cervantes´ novel, an overwhelming percentage of people worldwide can identify an image of Don Quixote, especially if he is paired with his squire, Sancho Panza, and know something about the basic premise of the story. The problem that drives this paper is to determine how this Spanish 17th century literary character was able to gain near-univeral iconic recognizability. The methods used to research this phenomenon were to examine the character´s literary beginnings and iconization through translation and adaptation, film, textual and popular iconography, as well commercial, nationalist, revolutionary and institutional appropriations and determine what factors made him so useful for appropriation. The research concludes that the literary figure of Don Quixote has proven to be exceptionally receptive to readers´ appropriative requirements due to his paradoxical nature. The Quixote’s “cuerdo loco” or “wise fool” inherits paradoxy from Erasmus of Rotterdam’s In Praise of Folly.
    [Show full text]
  • Love and Contracts in Don Quixote Martha Ertman
    Don Quixote: Interdisciplinary Connections Edited by Matthew D. Warshawsky and James A. Parr On the cover: Santiago Moix “Señores” said Don Quixote, “let us go slowly, for there are no birds today in yesterday’s nests” (Don Quixote series, hand colored), 2008, Drypoint with hand-coloring, Paper Size: 19 1/2 x 25 inches, Image Size: 14 7/8 x 20 7/8 inches, Edition of 5. Courtesy the artist and Pace Prints. Copyright © 2013 LinguaText, Ltd. All rights reserved Juan de la Cuesta—Hispanic Monographs An imprint of LinguaText, Ltd. 10 3 Wa l ker Way Newark, Delaware 19711-6119 usa (302) 453-8695 Fax: (302) 453-8601 www.JuandelaCuesta.com Manufactured in the United States of America isbn: 978-1-58871-235-6 11 Love and Contracts in Don Quixote Martha Ertman iewing love as a contract seems, initially, like mistaking windmills for giants, or a peasant girl for a grand lady. This paper seeks, like Don Quixote, to convince you to suspend Vyour practiced views of everyday relationships in order to see them in a new light. What seems crazy at first glance may come to look as good, and sometimes better, than the more conventional view. As a law pro- fessor, I usually write about love and contracts by focusing on legal opinions and statutes, and recently I have added real-life stories from books and newspapers, as well as my friends, family, colleagues, and students.1 But if I am right that love and contracts often complement instead of oppose each other, then my argument that contracts shape the beginning, middle, and demise of love relationships ought to hold true in fiction as well, especially for the jump-off-the-page characters and situations in Don Quixote.
    [Show full text]
  • James Mabbe's Translation of the Exemplarie Novells (1640)
    Maybe Exemplary? James Mabbe’s Translation of the Exemplarie Novells (1640) Alexander Samson University College London ervantes’s influence on seventeenth-century European prose fiction was unique and exemplary. His writing was a catalyst, perhaps even paradigmatic, in the formation of the republic of letters itself. After publication, his stories were taken up, both within Cand beyond Spain, with unprecedented rapidity for works of vernacular prose fiction. In his homeland, at least twenty adaptations of his works appeared before 1680, including adaptations of two of the stories from the Novelas ejemplares (1613) by his rival Lope de Vega, as plots for his plays La ilustre fregona (Parte XXIV, 1641) and El mayor imposible (Parte XXV, 1647, based on El celoso extremeño). A French translation of the Novelas ejemplares came out within a year of its publication in Spain,1 and there were a further eight editions of this translation before 1700. The popularity of Cervantine material in France can be gauged equally from there being no fewer than twenty-three stage adaptations of his work during the same period.2 In England, the case of John Fletcher typifies how rich a vein writers found in Cervantes’s prose: roughly a quar- ter of Fletcher’s extant output of just over fifty plays was based on Cervantine prose originals, 1 Les nouvelles, trans. François de Rosset and Vital d’Audiguier (Paris: Jean Richer, 1615), with an additional story by Sieur de Bellan. Vital d’Audiguier was also the translator of El peregrino en su patria into French. 2
    [Show full text]
  • Fiction Excerpt 2: from the Adventures of Don Quixote
    Fiction Excerpt 2: From The Adventures of Don Quixote (retold with excerpts from the novel by Miguel de Cervantes) Once upon a time, in a village in La Mancha, there lived a lean, thin-faced old gentleman whose favorite pastime was to read books about knights in armor. He loved to read about their daring exploits, strange adventures, bold rescues of damsels in distress, and intense devotion to their ladies. In fact, he became so caught up in the subject of chivalry that he neglected every other interest and even sold many acres of good farmland so that he might buy all the books he could get on the subject. He would lie awake at night, absorbed in every detail of these fantastic adventures. He would often engage in arguments with the village priest or the barber over who was the greatest knight of all time. Was it Amadis of Gaul or Palmerin of England? Or was it perhaps the Knight of the Sun? As time went on, the old gentleman crammed his head so full of these stories and lost so much sleep from reading through the night that he lost his wits completely. He began to believe that all the fantastic and romantic tales he read about enchantments, challenges, battles, wounds, and wooings were true histories. At last he fell into the strangest fancy that any madman has ever had: he resolved to become himself a knight errant, to travel through the world with horse and armor in search of adventures. First he got out some rust-eaten armor that had belonged to his ancestors, then cleaned and repaired it as best he could.
    [Show full text]