THE CASE of the JACOB and JOSEPH STORIES Kevin S. Larsen Miguel De Cervantes

Total Page:16

File Type:pdf, Size:1020Kb

THE CASE of the JACOB and JOSEPH STORIES Kevin S. Larsen Miguel De Cervantes CERVANTES, DON QUIJOTE, AND THE HEBREW SCRIPTURES: THE CASE OF THE JACOB AND JOSEPH STORIES Kevin S. Larsen Miguel de Cervantes Saavedra (1547–1616) had led a colorful life long before he became the author of El ingenioso hidalgo don Quijote de la Mancha (1605, 1615).1 In the wake of his exploits in the preservation and propagation of the Holy Faith and the Spanish Empire, Cervantes and his novel have become for succeeding generations archetypes of Catholic Spain. I mean to say nothing here to diminish his stature as a practicing, and probably a believing, Christian. Nonetheless, that Cervantes’ and his protagonist’s Old Christian pedigrees might well be “stained” with Semitic ancestry and/or afijición (fondness) remains a vexed question, with some writers suggesting their New Christianity, while others argue that the knight errant and his creator could never have been of less than com- pletely castizo (racially pure) origin.2 A much-abbreviated version of this essay was presented at the Fourteenth Congress of the World Union of Jewish Studies, held at the Hebrew University in Jerusalem in July and August of 2005. 1 Miguel de Cervantes Saavedra, El ingenioso hidalgo don Quijote de la Mancha. Obras completas, ed. Florencio Sevilla (Madrid: Castalia, 1999). All references to this novel will be noted parenthetically in the text of the essay according to the Castalia edition. 2 Various writers, including Américo Castro and Marcel Bataillon, down to those of the immediate present, have asserted that this novelist errant of Iberian Catholicism was probably, like so many of the rest of his countrymen and generational counterparts, of mixed ethnic origins. Nonetheless, numerous other writers of stature vociferously deny these same contentions. Some time ago, I was at a scholarly gathering in honor of Professor Francisco Márquez Villanueva, in which the multiple ethnicity of Iberian culture in the Middle Ages and the Early Modern Era was reafffijirmed at every turn. I am personally convinced of what we were saying at that conference was true, that Spain, Portugal, and the rest of the Iberian world have been partakers, essentially from the very beginnings of their history, of these same blessings of mixed ancestry and multiple ethnic- ity. Granted, much of the “evidence” cited for the Cervantes’ converso background remains circumstantial, invoking across the generations responses to the contrary, spanning the gamut from the closely reasoned to the rabidly unreasonable. Among others, Francisco Márquez Villanueva, Cervantes en letra viva (Madrid: Reverso, 2005), 151–33; Ellen Lokos, “The Poetics of Identity and the Enigma of Cervantes’s Genealogy.” Cervantes and His Postmodern Constituencies (New York: Garland, 1999), 116–33; and Alberto Sánchez, “Revisión del cautiverio cervantino en Argel.” Cervantes 17 (1997): 7–24, offfer critical syn- opses of this controversy. See also Krzysztof Sliwa’s Documentos cervantinos (New York: Peter Lang, 2000), as well as his Vida de Miguel de Cervantes Saavedra and Árbol gene- alógico de Miguel de Cervantes, both published by Reichenberger in 2005. 208 kevin s. larsen The polemic begun in Toledo in 1449, with the promulgation of the Estatutos de limpieza de sangre (Statutes for Purity of Blood), would con- tinue for centuries throughout the Iberian world, long after Alonso Quijano el Bueno’s recovery of “sanity” and summary decease. Debate at the highest ecclesiastical levels would confijirm that Christian baptism could not expunge the tacha (fault) of Semitic origins. Though not to exculpate any group from such racism, it could be noted that there has also existed for many generations among Israel a parallel notion, that once a Jew, always a Jew. By way of summation of such Lamarckian logic, in whatever group that might practice it, I recall consulting Francisco Márquez Villanueva concerning this current project: for a variety of rea- sons, he termed it peligroso (dangerous).3 Though tempers may flare, the fijires of the auto de fe do not. Critical “heresy” is not nearly as “dangerous” today as it would have been in early modern Spain, and, in fact, grows more and more acceptable in our contemporary milieu. Simply put, Cervantes would not be cowed by threats, implicit or explicit. Rather than allowing himself to be staked by the past, his pro- tagonist would reinvent himself in a modality of his own choosing. Don Quijote follows the lead of his creator, who would not be bound by blood or background, opting in favor of liberty, while (re)creating himself anew. Such nonconformity could have cost Cervantes dearly, just as it does his title character, at almost every turn of his campaigns. For both novelist and protagonist, nobility of blood (or any lack thereof) does not obviate or otherwise overshadow an individual’s noble actions, should he/she choose to strike offf on his/her own as did don Quijote, and ahead of him, Cervantes. Such freedom does not come without cost, though Cervantes seems to indicate that it is worth whatever price.4 By no means am I asserting Don Quijote as some sort of crypto-Judaic or obvious “converso text.”5 Nor is it that Cervantes and/or his protagonist 3 I recall discussing with Professor Thomas F. Glick what he termed Américo Castro’s “Lamarckism,” at the initiatory meeting of the Society for Literature and Science in Worcester, MA (October, 1987). 4 A classic study of this theme is Luis Rosales’ two-volume Cervantes y la libertad (Madrid: Valera, 1960). See also: Pedro Rueda Contreras, Los valores religioso-fijilosófijicos de El Quijote (Valladolid: Miraflores, 1959), 83–92; María Caterina Ruta, “Sistema compositivo y mensaje en la novela del Capitán cautivo (Quijote, 1, 39–42),” Crítica semiológica de textos literarios hispánicos (Madrid: Consejo Superior de Investigaciones Científijicas, 1986), 189– 97; and Alicia Parodi, “El episodio del cautivo, poética del Quijote: verosímiles transgredi- dos y diálogo para la construcción de una alegoría.” Actas del Segundo Coloquio Internacional de la Asociación de Cervantistas (Barcelona: Anthropos, 1991), 433–41. 5 David M. Gitlitz, Secrecy and Deceit: The Religion of the Crypto-Jews (Philadelphia: Jewish Publication Society, 1996). There are many volumes concerning the religious .
Recommended publications
  • 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]
  • 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]
  • Miguel De Cervantes
    MIGUEL DE CERVANTES Miguel de Cervantes was born in Alcalá de Henares (Madrid) in 1547. He was baptised at the now lost Church of Santa María la FREE ADMISSION Mayor on 9 October that same year, as ACCESSIBLE MUSEUM confirmed by his baptism certificate. T. 918 89 96 54 www.museocasanataldecervantes.org Little is known about Cervantes’s childhood and adolescence. The son of Rodrigo de Cervantes, an apothecary surgeon, and Le- OPENING HOURS onor de Cortinas, he travelled throughout Tuesday to Sunday: From 10 am to 6 pm (last tour starts at 5.30 pm). his life around Spain and sought his fortune Closed on Mondays, 1 and 6 January, 1 May, 24, 25 and 31 December. in Rome, where he worked as a manservant 2 Opening hours may change due to special activities taking place. to Cardinal Acquaviva. In 1571, together with his brother Rodrigo, he took part in the Bat- At the age of 37 he met the great love tle of Lepanto and was seriously wounded of his life, Ana Franca de Rojas, with whom INFORMATIONS AND BOOKINGS in the chest and arm. his only daughter, Isabel de Saavedra, was [email protected] conceived. However, despite the love they professed for each other, Cervantes ended GROUP VISITS up marrying Catalina de Palacios Salazar, Group visits must be booked in advance by email: [email protected]. who was from Esquivias. Success came towards the end of Each group may have a maximum of 20 people and must be Cervantes’s life, in 1605, with the publica- accompanied by a group leader.
    [Show full text]
  • Sickness and Health in the Work of Cervantes
    I MEDICAL HUMANITIES Sickness and health in the work of Cervantes Barry Ife Barry Ife Cervantes did not publish his first book until he was form of natural language – this should not surprise CBE FKC HonFRAM, 38 and he spent most of his early adult life in the us. There have been many studies of Don Quixote’s Principal, Guildhall army.1 He helped to defeat the Turks at the Battle of so-called madness – or eccentricity3 – but what is School of Music Lepanto in 1571, but was shot in the arm and lost the more interesting is the consistently high correlation and Drama, use of his left hand. En route back to Spain he was in Cervantes’s works between physiological and London captured by pirates and spent five years in prison in psychological states. Clin Med Algiers. He was repatriated back to Spain in 1580: a Don Quixote’s state of mind is explained with 2007;7:608–10 disabled veteran and ex-prisoner of war, no wife, no exceptional clarity in the first chapter of Part I, in pension and only his wits to live on. All else having terms of diet and lifestyle. This diagnosis has been failed, he set about building a new career as one of largely overlooked in the critical literature because the greatest novelists the world has known. Don Quixote does not present with his symptoms Cervantes was proud of his war wound: ‘it looks until after he has left home on the first sally; that is, ugly, but it’s really beautiful, because it was inflicted we get the diagnosis before we see the symptoms.
    [Show full text]
  • 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.
    [Show full text]
  • The Search for Dog in Cervantes
    humanities Article Article The Search for Dog in Cervantes ID Ivan Schneider Seattle, WA 98104,98104, USA; [email protected] Received: 20 20 March March 2017 2017;; Accepted: 11 11 July July 2017 2017;; Published: 14 14 July July 2017 2017 Abstract: This paper reconsiders the missing galgo from the first line in Don Quixote with a set of Abstract: This paper reconsiders the missing galgo from the first line in Don Quixote with a set of interlocking claims: first, that Cervantes initially established the groundwork for including a talking interlocking claims: first, that Cervantes initially established the groundwork for including a talking dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by dog in Don Quixote; second, through improvisation Cervantes created a better Don Quixote by transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique transplanting the idea for a talking dog to the Coloquio; and third, that Cervantes made oblique references to the concept of dogs having human intelligence within the novel. references to the concept of dogs having human intelligence within the novel. Keywords: Cervantes; talking dogs; narratology; animal studies Keywords: Cervantes; talking dogs; narratology; animal studies 1. Introduction 1. Introduction “[Cervantes] saw his scenes and the actors in them as pictures in his mind before he put “[Cervantes]them on paper, saw much his scenes as El Greco and the [see actors Figure in1] madethem as little pictures clay models in his ofmind his figuresbefore beforehe put thempainting on paper, them.” much (Bell as1947 El ,Greco p.
    [Show full text]
  • Don Quijote in English
    Tilting at Windmills: Don Quijote in English _________________________________________ Michael J. McGrath rinted on the inside jacket of Edith Grossman’s 2003 transla- tion of Don Quijote is the following statement: “Unless you read PSpanish, you have never read Don Quixote.” For many people, the belief that a novel should be read in its original language is not contro- vertible. The Russian writer Dostoevsky learned Spanish just to be able to read Don Quijote. Lord Byron described his reading of the novel in Spanish as “a pleasure before which all others vanish” (Don Juan 14.98). Unfortunately, there are many readers who are unable to read the novel in its original language, and those who depend upon an English transla- tion may read a version that is linguistically and culturally quite different from the original. In his article “Traduttori Traditori: Don Quixote in English,” John Jay Allen cites the number of errors he encountered in different translations as a reason for writing the article. In addition, ac- cording to Allen, literary scholarship runs the risk of being skewed as a result of the translator’s inability to capture the text’s original meaning: I think that we Hispanists tend to forget that the overwhelming ma- jority of comments on Don Quixote by non-Spaniards—novelists, theoreticians of literature, even comparatists—are based upon read- ings in translation, and I, for one, had never considered just what this might mean for interpretation. The notorious difficulty in es- tablishing the locus of value in Don Quixote should alert us to the tremendous influence a translator may have in tipping the balance in what is obviously a delicate equilibrium of ambiguity and multi- valence.
    [Show full text]
  • Balanchine's Don Quixote
    Ballet Notes Balanchine’s Don Quixote June 2007 2 Balanchine’s Don Quixote Choreography: George Balanchine Staged by: Suzanne Farrell © Music: Nicolas Nabokov Used by arrangement with European American Music Distributors LLC, U.S. and Canadian agent for M.P. Belaieff Musikverlag, publisher and copyright owner. Set Design: Zack Brown Costume Design: Holly Hynes Lighting Design: Brad Fields Produced in association with: The Suzanne Farrell Ballet Company Balanchine’s Don Quixote is a gift from Roger and Kevin Garland. Cover: Heather Ogden and Hazaros Surmeyan. Left: Suzanne Farrell in rehearsal. 3 4 Synopsis …everything a man does he does for his ideal woman. quickly thwarted, however, by violent clashes with real- You live only one life and you believe in something and ity. He is held up to ridicule at the court of the Duke I believe in a little thing like that. and Duchess, tossed about like a rag doll, assaulted George Balanchine, Life Magazine, August 1965 with swords, and “grief-stricken to find himself so injured by those for whom he had done so much good.” Secluded in his study, a gentleman late in his life, by the name of Alonso Quixano the Good, surrounds him- In spite of his frequent, humiliating setbacks, Don self with gigantic books of chivalry. Fairly devouring the Quixote exhibits a vigour and a richness of invention; tales of adventure, peril and romance, he has come to we wonder at his endless courage in the face of pre- inhabit the life of a knight-errant of yore and “every- posterous circumstance, his inextinguishable will to thing our adventurer thought, saw, or imagined seemed survive — flourish — on his crusade.
    [Show full text]
  • Man of La Mancha 2 Westport Country Playhouse
    compiled by sophie siegel-warren edited by david kennedy study guide associate artistic director thank you to our education sponsors THE DAVID & GERI EPSTEIN PRIVATE FOUNDATION WESTPORT COUNTRY PLAYHOUSE Theater Audience Etiquette Speaking to your students about theater etiquette is important. Students should be aware that this is a LIVE performance and that they should not talk during the show. Students may respond to the strong emotions elicited by theater in different ways, and appropriate audience reactions are warmly encouraged. But please take the time to address and discuss proper behavior in the theater with your students. This will enhance their appreciation of the work and allow other audience members to enjoy the performance at the same time. We have provided the following guidelines: • Please do not bring food or drink into • Remember that this is a live performance, and that the theater. in addition to being disruptive to your neighbors, • Turn off all cellular phones and pagers or anything unruly behavior can be heard by the actors on stage. that makes noise or lights up. • Act with maturity during romantic, violent or other • No texting, please. challenging scenes. • Please talk only before or after the performance or • Open your eyes, ears and mind to the world on during intermission. stage. Theater has the power to transport us to another place; open your heart to that experience. Thank you for your help, and we hope that you enjoy the show! STUDY GUIDE | MAN OF LA MANCHA 2 WESTPORT COUNTRY PLAYHOUSE The Plot In the late 1500s, Miguel de Cervantes is imprisoned by When the lead muleteer abuses Aldonza, Quixote leaps to the Spanish Inquisition.
    [Show full text]