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The Universal Quixote: Appropriations of a Literary Icon

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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. It is Don Quixote´s paradoxy that allows readers and viewers to choose the aspects of the protagonist that they find most useful. Some of that difference in interpretation has been diachronic, starting with a burlesque view of Don Quixote as the insane hidalgo, later developing a romantic interpretation of the ii protagonist as a noble knight. Much of that difference has been geographical, with Spanish appropriators tending to reflect Don Quixote as a heroic reflection of national character, and many outside of Spain choosing to use the knight as a symbol of impracticality and failure. Ultimately, Don Quixote´s long lasting influence has been due to his ability to embody the best of the human spirit; the desire to fashion oneself into a more noble identity and achieve greater deeds than one´s cultural environment would normally allow. iii DEDICATION To my Margarets: the one who raised me and taught me to love reading and whose kid I still am, and the one who has loved me and been by my side for the last twenty-five years. I love you both with all my heart. iv ACKNOWLEDGEMENTS I would first like to thank my committee chair, Dr. Eduardo Urbina, whose life´s work has been Cervantes scholarship, for having guided me and mentored me through this process with exceptional detail and care. I would also like to thank my committee members, Dr. Paul Christensen, Dr. Juan Carlos Galdo, Dr. Janet McCann, and Dr. Stephen Miller for their guidance and support throughout the course of this research. Thanks also to my friends and colleagues, the Glasscock Center for Humanities Research, the Cervantes Collection at the Texas A&M Cushing Library, the Centro de Estudios de Castilla-La Mancha and Óscar Fernández Olalde, the Texas A&M Thesis Office, Dr. Gail Clement at the Digital Services and Scholarly Communication office and Javier Krahe and Gemma Camblor at the Cigarral del Carmen, Toledo. I also deeply appreciate the donors of the Brown-Kruse Fellowship as well as Lynn Holleran and Chuck Bowman for supporting the Cervantes Research Fellowship which made much of my research possible. Finally, thanks to my family for supporting me through this endeavor. I finish these acknowledgements with the words of Henry Spencer Ashbee, whose book on Quixote iconography was published in 1895. His preface reads: I lay down my pen with regret. Mine has been a labour of love, and has afforded me, for some time past, delightful occupation during my leisure moments. My recompense then has been already attained, for my work has been its own reward. Should nevertheless my book prove useful, in however small a degree, and should it be found possible to award me the v lowest place among those who have devoted their time and energies to Cervantes´ immortal romance, the summit of my ambition will have been reached. vi TABLE OF CONTENTS Page ABSTRACT .......................................................................................................................ii DEDICATION .................................................................................................................. iv ACKNOWLEDGEMENTS ............................................................................................... v TABLE OF CONTENTS .................................................................................................vii LIST OF FIGURES ........................................................................................................ viii CHAPTER I INTRODUCTION: FIRST STEPS OF APPROPRIATION ...................... 1 CHAPTER II APPROPRIATIONS BY TRANSLATION AND ADAPTATION ......... 50 CHAPTER III ICONIZATION THROUGH ILLUSTRATION ................................... 106 CHAPTER IV APPROPRIATIONS BY FILM ADAPTATION .................................. 181 CHAPTER V A POPULAR, POLITICAL AND INSTITUTIONAL ICON ................ 225 CHAPTER VI CONCLUSION ...................................................................................... 269 WORKS CITED ............................................................................................................. 275 vii LIST OF FIGURES Page Figure 1. Title page. Barcelona: Juan Jolis, 1762; http://dqi.tamu.edu. .......................... 19 Figure 2. “Don Quixote and the Basque.” Paris: Didot, 1835; Illustrator, Louis Choquet; Engraver, Jean Francois Pourvoyeur; http://dqi.tamu.edu. ............... 29 Figure 3. “Sancho being blanketed.” London, 1725; Illustrator, Pierre-Charles Trémolieres; http://dqi.tamu.edu. ..................................................................... 34 Figure 4. “Sant Jordi.” Barcelona: Primera Plana,1997 (1434-1435); Illustrator, Bernat Martorell; http://en.wikipedia.org/wiki/File:Martorell_- _Sant_Jordi.jpg. ................................................................................................ 39 Figure 5. “Conversion of Saint Paul.” 1600-1601; Illustrator, Caravaggio; http://commons.wikimedia.org/wiki/File:Caravaggio_- _La_conversione_di_San_Paolo.jpg ................................................................ 41 Figure 6. “Don Quixote unhorsed by the windmill.” London: Cadell, 1818; Illustrator, Robert Smirke; http://dqi.tamu.edu. ................................................ 43 Figure 7. “Adventure of the Fulling Mill.” Barcelona: Tasso, 1905; Illustrator, Gustave Doré; http://dqi.tamu.edu. ................................................................... 46 Figure 8. “Don Quixote attacks and destroys Maese Pedro's theater and puppets.”Amsterdam: Arkstée,1755; Illustrator, Jacob Savery; http://dqi.tamu.edu. ........................................................................................... 47 Figure 9. Title page of Thomas Shelton translation; London: Blount, 1620; http://dqi.tamu.edu. ........................................................................................... 65 Figure 10. Title page of Peter Motteux translation. London: Knaplock, 1719; http://dqi.tamu.edu. ........................................................................................... 68 Figure 11. Title page of Charles Jarvis translation. London: J. and R. Tonson, 1742; http://dqi.tamu.edu. ........................................................................................... 71 Figure 12. Title page of Tobias Smollett translation. London: Millar, 1755; http://dqi.tamu.edu. ........................................................................................... 75 Figure 13. Title page of John Ormsby translation. London: Smith, Elder, 1885; http://dqi.tamu.edu. ........................................................................................... 77 viii Figure 14. Cover of Tom Lathrop translation. Juan de la Cuesta; 2007; Newark; http://dqi.tamu.edu ............................................................................................ 82 Figure 15. Cover of Don Quixote in Quechua. Lima: Manchay Sapanchasqa Madridpi, 2005; http://dqi.tamu.edu. ................................................................ 85 Figure 16. “Virtue and Vice.” El alma de Cervantes: Pensamientos, máximas y consejos entresacados de las obras de Cervantes al alcance de la inteligencia de los niños. Madrid: Cuerpo de Intendencia e Intervención Militares, 1929. Author, Manuel de la Cueva; http://dqi.tamu.edu. ................. 90 Figure 17. Cover of Hazañas bélicas. Barcelona: Toray; Author, E. Sotillos; Illustrator, A. Doyer; http://www.uclm.es/ceclm/CentenarioQuijote/tboquijote/tbos/hazas_toray/i ndex.htm. .......................................................................................................... 94 Figure 18. “Don Quixote dies as Alonso Quijano.” London: Nelson, 1921; Adaptation, Emily Underdown; http://dqi.tamu.edu. ....................................... 97 Figure 19. Cover of Don Quixote, Jr., Knight of the
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