By Harold Bloom
Credited with having written one of many first "novels", Cerventes' masterwork Don Quixote keeps to motivate and was once lately published in a brand new translation.
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Extra info for Miguel De Cervantes (Bloom's Modern Critical Views)
5 SANCHO PANZA: CHIVALRY Sancho Panza enters the novel, for better or worse, in order to play a major role in Don Quijote’s chivalric world. The manner in which he undermines that world from within has been discussed earlier. But Sancho is more than just another element in a consideration of Don Quijote’s progression from chivalry to reality. Sancho’s own development is a major aspect of Cervantes’s novel, and this development too can be more fully understood when considered in terms of the rhetoric of chivalry.
During most of chapter 26, all of 27 and 28, and the beginning of 29, Don Quijote is ignored in his solitude as the narrative interest shifts to Cardenio and Dorotea and the decisive reentry of the priest and the barber into the story. Whenever the reader’s attention is drawn away from Don Quijote, his chivalric world becomes more remote. NOTES 1. I borrow this term as being both concise and accurately descriptive from the character of Simkin in Saul Bellow’s very Cervantine novel Herzog (New York: Viking Press, 1964), p.
205) that the episode is “cosa digna de risa” (“worth laughing at”) but goes on to affirm that “no es digna de contarse; que no son todas las personas tan discretas que sepan poner en su punto las cosas” (“it is not worth making a story about, for not everyone is shrewd enough to put things in the right place,” p. 140). What he really means, of course, is that he recognizes that what has happened is incompatible with the maintenance of his chivalric vision—another tacit recognition of reality—and must therefore be suppressed.