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The Quixote Code: Reading Between the Lines of the Cervantes Novel Massimiliano Adelmo Giorgini Purdue University

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The Quixote Code: Reading Between the Lines of the Cervantes Novel Massimiliano Adelmo Giorgini Purdue University Purdue University Purdue e-Pubs Open Access Dissertations Theses and Dissertations Fall 2014 The Quixote code: Reading between the lines of the Cervantes novel Massimiliano Adelmo Giorgini Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/open_access_dissertations Part of the Comparative Literature Commons, European History Commons, and the Religion Commons Recommended Citation Giorgini, Massimiliano Adelmo, "The Quixote code: Reading between the lines of the Cervantes novel" (2014). Open Access Dissertations. 272. https://docs.lib.purdue.edu/open_access_dissertations/272 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. PURDUE UNIVERSITY GRADUATE SCHOOL Thesis/Dissertation Acceptance $ " % # " ! $ ! " , $ #$ ( ' # %"#$ ( $ #$%$ $ ## ##"$$ "$ %$ ( "$$ #" "%$ " $# $####"$$ "# $ $ !" &# # %"% &"#$()# * ( $"$( #"+ $ %# !("$ $" )(+*'+(*)& ii THE QUIXOTE CODE: READING BETWEEN THE LINES OF THE CERVANTES NOVEL A Dissertation Submitted to the Faculty of Purdue University by Massimiliano Adelmo Giorgini In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2014 Purdue University West Lafayette, Indiana ii This dissertation is dedicated to the memory of my parents, Aldo Giorgini and Elena Belotti. Through his multiple doctorates and endless research, my father Aldo taught me to appreciate the quest for knowledge via academic rigor. Further, his accomplishments in the graphic arts—and especially his encouragement to seek meaning in images—made me better-equipped than most to identify ekphrasis in action. My mother Elena educated me at an early age about the importance of history, context, and law. Perhaps most importantly, she showed me the awesome transformative power of the mind in the shaping of human perception of outside stimuli, in addition to the capacity of narrative and theory of mind to help cognitively organize these sensory experiences. Through her example, I was able to appreciate at a young age the dramatically individualistic nature of interpretation and perspective. iii ACKNOWLEDGEMENTS I would like to thank a few individuals whose guidance and instruction made the pursuit of the doctorate a real goal in my life. First, had it not been for Benjamin Lawton’s challenging and informative course on Italian Cinema, I may never have developed an affinity and passion for the deeper analysis of artistic works. Further, the appreciation I gained in his classroom for subtle shades of communication expressed via film had a real and lasting influence on my own work as a music producer over the course of the following decades. Ultimately, it was the unexpected phone call from Prof. Lawton requesting that I teach a pair of Italian courses that drew me back to academia after over ten years exclusively in the music world—a return which eventually led me towards graduate studies. As far as the specific area of study and the ideas which guided my research, great credit is due to the professors who taught my first two courses taken as a non-degree graduate student, strictly for personal fulfillment. In Ariel de la Fuente’s history course on Argentine Literature, my eyes were opened to visual references subtly hidden within the lines of the works of Jorge Luis Borges—a kind of wordplay which aligned spectacularly with my upbringing as the son of a gifted painter and all-around Renaissance man. Prof. de la Fuente’s own research inspired and encouraged me to imagine the scenes in all literary texts as ekphrastic description of paintings—an approach which turned out to be particularly appropriate for Golden Age Spanish texts, as authors of that era were especially conscious of the process of writing as a means to paint images with words. Finally, I cannot possibly overstate the extreme debt which my graduate studies owe to the support, guidance, and encouragement of Howard Mancing. When I first took his course on Don Quixote, I had only been speaking Spanish informally among friends for a few weeks. His passionate teaching of the subject— including the various literary approaches which could be used to interpret the text, iv contextual historical information, biographical information about Miguel de Cervantes, the literary influences which inspired this first modern novel, and even the many ways in which Don Quixote has influenced each and every branch of the arts in the centuries following its publication—encouraged a desire in me to focus my academic pursuits squarely on the further study of this classic work. Indeed, even an offhand comment by Mancing about a (fictitious) madman who had proposed an ill-conceived theory of the source of the name “Quixote” during the very first lecture of that class became the spark that lit the flames of the countless hours of research behind what is likely the single most interesting contribution of this entire study. Above and beyond all of this, however, throughout the years Prof. Mancing has always been supportive and welcoming—lending a sympathetic ear to any and all situations for which I sought advice and direction. Truth be told, in the years I have known Prof. Mancing and his wife Nancy, I have come to see them as family, as de facto parents—indeed, Mancing even served as the “father” (minister) in my own wedding just a few years ago, conducting the civil ceremony while holding a copy of Don Quixote. Had it not been for these three individuals, it is highly unlikely that I would have ever found myself in the position of even beginning—let alone finishing—a dissertation. While this investigation is a modest one in terms of its potential academic impact, it has represented a major life accomplishment to me as an individual. Thanks so much to Benjamin Lawton, Ariel de la Fuente, and Howard Mancing for the inspiration and encouragement which has made this study possible. v TABLE OF CONTENTS Page LIST OF FIGURES .......................................................................................................... vii ABSTRACT ..................................................................................................................... viii CHAPTER 1. INTRODUCTION ................................................................................. 1 1.1 Introduction ............................................................................................... 1 1.2 Chapter 2: Reading Between the Lines: A Brief History of Early Exegetical and Esoteric Interpretations of Don Quixote ........................... 3 1.3 Chapter 3: Cada loco con su tema: Esoteric Excesses in Quixote Criticism .................................................................................................... 5 1.4 Chapter 4: Investigating Don Quixote with Theory of Mind: The Case of the Knight Errant and the Banned Bible .................................................... 5 1.5 Chapter 5: Something Fishy in Don Quixote: Trawling Ekphrastic Waters Nets Anti-Inquisitorial Subversion ............................................................ 8 PART I: THE SEARCH FOR AN IMPLICIT MEANING: FROM EXEGESIS TO ESOTERICISM ................................................................................... 12 CHAPTER 2. READING BETWEEN THE LINES: A BRIEF HISTORY OF EARLY EXEGETICAL AND ESOTERIC INTERPRETATIONS OF DON QUIXOTE FROM THE PRINCEPS EDITION THROUGH THE BUSCAPIÉ TO DÍAZ DE BENJUMEA ............................................. 13 2.1 Esoterism or Exegesis? Searching for Symbols in Don Quixote ............ 13 2.2 The Buscapié: A Famous Forgery Belies a Suspected Second Significance ............................................................................................. 17 2.3 Early Exegetical Readings of Don Quixote ............................................. 31 vi Page 2.4 Díaz de Benjumea: “El apóstol mayor de la escuela esotérica del cervantismo” ............................................................................................ 57 CHAPTER 3. CADA LOCO CON SU TEMA: EXEGETICAL VERSUS ESOTERIC INTERPRETATIONS OF DON QUIXOTE ....................................... 95 PART II: PERSECUTION AND THE ART OF SUBVERSION .................................. 194 CHAPTER 4. INVESTIGATING DON QUIXOTE WITH THEORY OF MIND: THE CASE OF THE KNIGHT ERRANT AND THE BANNED BIBLE ................................................................................................ 195 CHAPTER 5. SOMETHING FISHY IN DON QUIXOTE: TRAWLING EKPHRASTIC WATERS NETS ANTI-INQUISITORIAL SUBVERSION .................................................................................. 237 CHAPTER 6. CONCLUSIONS ............................................................................... 319 WORKS CITED ........................................................................................................... 339 VITA ............................................................................................................................... 389 PUBLICATIONS ........................................................................................................... 398 vii LIST OF FIGURES Figure Page Figure 1 First Five Words of the Apocryphal Don Quixote ........................................... 120 Figure 2 Attribution of a Sonnet from the Apocryphal Don Quixote ............................. 124 Figure 3 Emblem from the frontispiece of the princeps edition of Don Quixote I ........
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