The Theme in the Work
Love in the Quixote comes in cases, and nearly all of them end badly for whoever takes them too seriously. There is the chivalric love of Don Quixote for a lady he has never seen, Dulcinea del Toboso, invented as suits him. There is the pastoral love that kills Grisóstomo, to whom Marcela says he owes nothing. There is the quartet of Cardenio, Luscinda, don Fernando and Dorothea, whom the Sierra Morena and the inn untie. There is the novella of the Curious Impertinent, in which a husband asks a friend to prove his wife's virtue. There is the Moorish woman Zoraida, who flees with the captive and calls herself a Christian, and the farcical love of the maiden Altisidora, who pretends to die for the gentleman. What the book does with these cases is test them against will, reason and interest: the love that obliges, the love that blinds, the love that is bought, the love that is invented, and the love that is repaid with gratitude.
In chapter XIV of Part One, at the burial of the shepherd, the epitaph that Ambrosio will have carved says he died lost for lack of love.
Yace aquí de un amador el mísero cuerpo helado, que fue pastor de ganado, perdido por desamor, here lies, of a lover, the wretched frozen body, who was a shepherd of cattle, lost for lack of love.
In chapter XXIV of Part One, in the Sierra Morena, Cardenio, telling the story, gives his thesis of love in young men, which is for the most part appetite.
como el amor en los mozos, por la mayor parte, no lo es, sino apetito, el cual, como tiene por último fin el deleite, en llegando a alcanzarle se acaba y ha de volver atrás aquello que parecía amor, porque no puede pasar adelante del término que le puso naturaleza, el cual término no le puso a lo que es verdadero amor, as love in young men, for the most part, is not love but appetite, which, since its final end is delight, ends once it attains it, and what seemed to be love must turn back, because it cannot go past the limit nature set for it, a limit nature did not set for true love.
In chapter XXV of Part One, the gentleman explains to Sancho how he loves Dulcinea: he paints her in his imagination as he desires her.
Así que, Sancho, por lo que yo quiero a Dulcinea del Toboso, tanto vale como la más alta princesa de la tierra [...] píntola en mi imaginación como la deseo, así en la belleza como en la principalidad, so, Sancho, by how much I love Dulcinea del Toboso, she is worth as much as the highest princess on earth [...] I paint her in my imagination as I desire her, in beauty and in rank alike.
In chapter XXX of Part One, when Sancho advises him to marry Micomicona, he refuses on Dulcinea's account and says where she lives.
Ella pelea en mí, y vence en mí, y yo vivo y respiro en ella, y tengo vida y ser, she fights in me, and conquers in me, and I live and breathe in her, and I have life and being.
In chapter XXVII of Part One, Cardenio tells the moment of his loss: when he thought Luscinda was drawing the dagger to speak the truth, he heard her say in a faint, weak voice: "Yes, I will."
cuando yo pensé que sacaba la daga para acreditarse, o desataba la lengua para decir alguna verdad o desengaño que en mi provecho redundase, oigo que dijo con voz desmayada y flaca: ''Sí quiero'', when I thought she was drawing the dagger to prove her honor, or loosing her tongue to say some truth or disillusionment that would redound to my good, I heard her say in a faint and feeble voice: "Yes, I will."
In chapter XXVIII of Part One, Dorothea tells what she answered don Fernando when he promised her marriage.
Sí, que no seré yo la primera que por vía de matrimonio haya subido de humilde a grande estado, ni será don Fernando el primero a quien hermosura, o ciega afición, que es lo más cierto, haya hecho tomar compañía desigual a su grandeza [...] puesto que en éste no dure más la voluntad que me muestra de cuanto dure el cumplimiento de su deseo; que, en fin, para con Dios seré su esposa, yes, for I shall not be the first who through marriage has risen from a humble to a great station, nor will don Fernando be the first whom beauty, or blind affection, which is most likely, has moved to take a companion unequal to his rank [...] although in him the will he shows me may last no longer than the fulfilment of his desire; for in the end, before God, I shall be his wife.
In chapter XXXIII of Part One, in the novella of the Curious Impertinent, Anselmo sets out to Lothario the reason for the wager.
no es una mujer más buena de cuanto es o no es solicitada, y que aquella sola es fuerte que no se dobla a las promesas, a las dádivas, a las lágrimas y a las continuas importunidades de los solícitos amantes, a woman is no better than she is or is not solicited, and only she is strong who does not bend to promises, gifts, tears and the constant importunities of attentive lovers.
And Lothario answers with the image of the diamond placed between anvil and hammer.
¿sería justo que te viniese en deseo de tomar aquel diamante, y ponerle entre un ayunque y un martillo, y allí, a pura fuerza de golpes y brazos, probar si es tan duro y tan fino como dicen?, would it be right for you to take a fancy to that diamond, and place it between an anvil and a hammer, and there, by sheer force of blows and arms, test whether it is as hard and as fine as they say?
In chapter XXXIV of Part One, when Camila yields, the narrator comments that Lothario's friendship did not stand.
Rindióse Camila, Camila se rindió; pero, ¿qué mucho, si la amistad de Lotario no quedó en pie?, Camila gave in, Camila yielded; but what wonder, if Lothario's friendship did not remain standing?
And he draws the moral from the fall.
Ejemplo claro que nos muestra que sólo se vence la pasión amorosa con huilla, y que nadie se ha de poner a brazos con tan poderoso enemigo, porque es menester fuerzas divinas para vencer las suyas humanas, a clear example that shows us that amorous passion is only overcome by flight, and that no one should take up arms against so powerful an enemy, because divine strength is needed to overcome its human strength.
In chapter XXXVI of Part One, at the inn, Dorothea speaks to don Fernando in front of Luscinda and Cardenio.
Tú no puedes ser de la hermosa Luscinda, porque eres mío, ni ella puede ser tuya, porque es de Cardenio; y más fácil te será, si en ello miras, reducir tu voluntad a querer a quien te adora, que no encaminar la que te aborrece a que bien te quiera, you cannot be the lovely Luscinda's, because you are mine, nor can she be yours, because she is Cardenio's; and it will be easier for you, if you consider it, to bring your will to love the one who adores you than to guide her who abhors you to love you well.
And he yields.
Venciste, hermosa Dorotea, venciste; porque no es posible tener ánimo para negar tantas verdades juntas, you have conquered, lovely Dorothea, you have conquered; for it is not possible to have the spirit to deny so many truths together.
In chapter XXXVII of Part One, the captive arrives with the Moorish woman Zoraida, who says she is a Christian and asks to be called Maria, not Zoraida.
¡No, no Zoraida: María, María!, no, not Zoraida: Maria, Maria!
In chapter XLI of Part One, during the escape, Zoraida explains to her father the haste her soul was driving her to.
Alá sabe bien que no pude hacer otra cosa de la que he hecho, y que estos cristianos no deben nada a mi voluntad, pues, aunque quisiera no venir con ellos y quedarme en mi casa, me fuera imposible, según la priesa que me daba mi alma a poner por obra ésta que a mí me parece tan buena como tú, padre amado, la juzgas por mala, Allah knows well that I could do nothing other than what I have done, and that these Christians owe nothing to my will; for even if I wished not to come with them and to stay in my house, it would have been impossible, given the haste my soul gave me to carry out this thing which seems to me as good as you, beloved father, judge it bad.
In chapter XIX of Part Two, on the way to the wedding, Sancho says that whoever hinders those who want each other does not deserve a good century, and the gentleman answers with a limit: love and affection easily blind the eyes of the understanding, which are necessary for choosing a state, and marriage is very much at risk of going wrong, and great caution and a special favor from heaven are needed to get it right.
el amor y la afición con facilidad ciegan los ojos del entendimiento, tan necesarios para escoger estado, y el del matrimonio está muy a peligro de errarse, y es menester gran tiento y particular favor del cielo para acertarle, love and affection easily blind the eyes of the understanding, so necessary for choosing a state, and that of marriage is very much at risk of going wrong, and great caution and a special favor of heaven are needed to get it right.
In chapter XX of Part Two, the dance of Interest at the rich man's wedding shows the other side of choice.
el Interés sacó un bolsón, que le formaba el pellejo de un gran gato romano, que parecía estar lleno de dineros, y, arrojándole al castillo, con el golpe se desencajaron las tablas y se cayeron, dejando a la doncella descubierta y sin defensa alguna. Llegó el Interés con las figuras de su valía, y, echándola una gran cadena de oro al cuello, mostraron prenderla, rendirla y cautivarla, Interest drew out a purse, made from the skin of a large Roman cat, which appeared to be full of money, and, hurling it at the castle, the blow dislodged the boards and they fell, leaving the maiden uncovered and without any defense. Interest came on with the figures of its worth, and, throwing a great gold chain about her neck, they showed that they would seize her, subdue her and enslave her.
In chapter XXI of Part Two, when the poor Basilio wins the bride by a ruse, the gentleman defends him with the argument that love and war are the same thing.
advertid que el amor y la guerra son una misma cosa, y así como en la guerra es cosa lícita y acostumbrada usar de ardides y estratagemas para vencer al enemigo, así en las contiendas y competencias amorosas se tienen por buenos los embustes y marañas que se hacen para conseguir el fin que se desea, como no sean en menoscabo y deshonra de la cosa amada. Quiteria era de Basilio, y Basilio de Quiteria, por justa y favorable disposición de los cielos. Camacho es rico, y podrá comprar su gusto cuando, donde y como quisiere. Basilio no tiene más desta oveja, y no se la ha de quitar alguno, por poderoso que sea; que a los dos que Dios junta no podrá separar el hombre, bear in mind that love and war are one and the same thing; and just as in war it is lawful and customary to use ruses and stratagems to defeat the enemy, so in the contests and rivalries of love, the tricks and snares made to attain the desired end are held to be fair, provided they are not to the detriment and dishonor of the beloved. Quiteria belonged to Basilio, and Basilio to Quiteria, by the just and favorable disposition of heaven. Camacho is rich, and can buy his pleasure when, where and how he wishes. Basilio has no more than this ewe, and no one must take her from him, however powerful he may be; for what God has joined, man cannot separate.
In chapter XLIV of Part Two, the maiden Altisidora sings to the gentleman at night, and he, listening, tells himself she is honey for whomever.
para sola Dulcinea soy de masa y de alfenique, y para todas las demás soy de pedernal; para ella soy miel, y para vosotras acíbar, for Dulcinea alone I am of dough and sugar paste, and for all others I am of flint; for her I am honey, and for you aloe.
In chapter XLVI of Part Two, he answers at night with a viol and a romance of his own, which closes with the maxim of firmness.
La firmeza en los amantes es la parte más preciada, por quien hace amor milagros, y asimesmo los levanta, firmness in lovers is the most prized part, through which love works miracles and likewise raises them up.
In chapter LVIII of Part Two, in the countryside, he tells Sancho that there are two kinds of beauty, that of the body and that of the soul, and that it is enough for an honorable man not to be a monster to be well loved, as long as he has the gifts of the soul that I have told you of.
hay dos maneras de hermosura: una del alma y otra del cuerpo [...] Yo, Sancho, bien veo que no soy hermoso, pero también conozco que no soy disforme; y bástale a un hombre de bien no ser monstruo para ser bien querido, como tenga los dotes del alma que te he dicho, there are two kinds of beauty: one of the soul and another of the body [...] I, Sancho, see well that I am not handsome, but I also know that I am not misshapen; and it is enough for an honorable man not to be a monster to be well loved, provided he has the gifts of the soul I have told you of.
In chapter LXVII of Part Two, about Altisidora, he distinguishes what is done out of love from what is done out of gratitude.
mucha diferencia hay de las obras que se hacen por amor a las que se hacen por agradecimiento. Bien puede ser que un caballero sea desamorado, pero no puede ser, hablando en todo rigor, que sea desagradecido [...] Yo no tuve esperanzas que darle, ni tesoros que ofrecerle, porque las mías las tengo entregadas a Dulcinea, there is a great difference between deeds done out of love and those done out of gratitude. A knight may well be unloving, but he cannot, speaking strictly, be ungrateful [...] I had no hopes to give her, nor treasures to offer her, because mine I have given over to Dulcinea.
In chapter LXIX of Part Two, after the feigned funeral, Altisidora comes back to life and thanks Sancho with six shirts.
Dios te lo perdone, desamorado caballero, pues por tu crueldad he estado en el otro mundo, a mi parecer, más de mil años; y a ti, ¡oh el más compasivo escudero que contiene el orbe!, te agradezco la vida que poseo. Dispón desde hoy más, amigo Sancho, de seis camisas mías que te mando para que hagas otras seis para ti; y, si no son todas sanas, a lo menos son todas limpias, God forgive you, unloving knight, for through your cruelty I have been in the other world, to my mind, more than a thousand years; and to you, oh the most compassionate squire the globe contains, I thank you for the life I possess. Henceforth, dispose, friend Sancho, of six of my shirts, which I send you so that you may make six others for yourself; and if they are not all sound, at least they are all clean.
The love cases of the book divide into two sets that the text crosses and does not name. In the first, love is obligation or proof: Marcela is not obliged to love the one who loves her, Anselmo wants to test his wife, Camila is led to yield, the kingdom of Micomicona would come with a marriage that the gentleman refuses. In the second, love is choice or response: Dorothea speaks to don Fernando in the name of the order of facts, Zoraida follows the haste of her soul, Quiteria says yes with the freest will, and the gentleman, apropos of Altisidora, distinguishes what is done out of love from what is done out of gratitude. What the book seems to defend, when it defends anything, is the second set, and the counterexample it brings from the first is always a death: Grisóstomo, Anselmo, Camila, Lothario. But the gentleman, who speaks most of love, lives in the first set, because he loves out of the obligation of his office a lady he invented. Two readings: the book sees in him the love of the first set without the death, the only kind madness allows; or it sees in him proof that the first set is harmless only when it has no object.
Who Embodies It
Dulcinea is love without an object: she does not appear on stage, and what is known of her comes through Sancho or the gentleman. Cardenio and Dorothea are the two faces of one same case, he who loses his bride and flees to the sierra, she who loses her honor and goes after him. Marcela is love that refuses to be owed. The captive is love that crosses a sea and a religion, and Altisidora is the farce of love that the dukes stage and the gentleman refuses.
Where It Appears
- Part One, chapter XIV: Grisóstomo's epitaph says he died lost for lack of love, and Marcela defends herself.
- Part One, chapter XXIV: Cardenio, telling of don Fernando's desire for the farm girl, says that love in young men is almost always appetite, which ends as soon as it attains delight.
- Part One, chapter XXV: The gentleman explains to Sancho that he paints Dulcinea in his imagination as he desires her, just as Homer painted Ulysses and Virgil painted Aeneas, not as they were but as they should be.
- Part One, chapter XXVII: Cardenio tells that, hidden behind the tapestry, he heard Luscinda say "yes, I will" to don Fernando before the priest, and did not come out of hiding to stop it.
- Part One, chapter XXVIII: Dorothea tells that she answered don Fernando that she was his vassal and not his slave, and that afterward she accepted his hand before an image.
- Part One, chapter XXXIII: Anselmo, who lacks nothing, asks his friend Lothario to test the virtue of Camila, his wife, by courting her.
- Part One, chapter XXXIV: Camila yields to flattery of her beauty and to Lothario's tears, and the narrator draws from it the moral, which refutes both Anselmo's plan and Lothario's.
- Part One, chapter XXXVI: Dorothea, on her knees, tells don Fernando that he cannot be Luscinda's because he is hers, and he, moved by her reasons, yields.
- Part One, chapter XXXVII: The captive arrives at the inn with Zoraida, the veiled Moorish woman who calls herself a Christian, in the chapter where the gentleman begins the discourse on arms and letters.
- Part One, chapter XLI: Zoraida arranges the escape with the captive in her father Agi Morato's garden, and boards with him the boat the renegade bought to return to Spain.
- Part Two, chapter XIX: The gentleman hears from the students that Basilio, poor, has loved Quiteria since boyhood and that she is to marry Camacho the Rich, and comments that love blinds the eyes of the understanding.
- Part Two, chapter XX: At Camacho the Rich's wedding, the dance of Interest begins, and Sancho had already said that the best foundation in the world is money, and that Quiteria would be a fool to refuse his jewels.
- Part Two, chapter XXI: Basilio, poor and spurned, interrupts the betrothal of Quiteria to Camacho and wins the bride by a ruse, and the gentleman defends that in love, as in war, tricks are allowed.
- Part Two, chapter XLIV: Altisidora, in the garden, sings a love romance to the gentleman, who remembers the books of chivalry, fears to surrender, and commends himself to Dulcinea.
- Part Two, chapter LXIX: Altisidora, feigned dead upon a tomb, comes back to life after Sancho receives twenty-four slaps, twelve pinches and six pinpricks, and thanks him.
Where the Readings Diverge
The novella of the Curious Impertinent, which the priest reads at the inn, is the one that most arouses divergent readings. In chapter III of Part Two, in the printed book that the bachelor summarizes, the novella is criticized for not belonging to the matter: the author placed it out of place, not because it is bad, but because it does not belong to the history of Don Quixote.
su autor puso en ella una novela intitulada El curioso impertinente; no por mala ni por mal razonada, sino por no ser de aquel lugar, ni tiene que ver con la historia de su merced del señor don Quijote, its author put into it a novella entitled The Curious Impertinent; not because it is bad or badly reasoned, but because it does not belong in that place, nor has it anything to do with the history of his worship Don Quixote.
The bachelor's objection supposes that the inserted stories are ornament, and that the novella of the Curious Impertinent could be left out. The book does the opposite: the novella is the one that most shows, by contrast, what it thinks of love. Anselmo wants to prove what needs no proof, and the text gives him death; the gentleman loves without proof, and the text leaves him alive until the last chapter. Two readings: the novella is the moral counterpoint to Don Quixote's madness, that of a man who doubts everything beside another who believes everything; or it is a story the book places there because the priest found it in a trunk, and its relation to the rest is one of neighborhood, not counterpoint.