Search

The article explores the portrayal of comic characters in Miguel de Cervantes's novel Don Quijote de la Mancha. It discusses how Cervantes challenged the prevailing norms of his time by investing fundamentally comic characters with dignity and particularity. The article highlights the cultural context in which genres were defined by the opposition of high and low content and characters. It also discusses the complex character development and psychological depth of Don Quijote and Sancho Panza, as well as the use of scatological humor in the novel. The author argues that understanding the comedic elements of Don Quijote is crucial for a full appreciation of the novel and emphasizes the characters' contribution to the development of liberalism. [Extracted from the article]

The interpolated stories included in Don Quijote, Part one have frequently been studied as oppositional to the main plot in function of thematic binaries such as literature-life, illusion-reality, truth-fiction, idealism-realism and romance-novel. An analysis of the embedded tales' shared motifs, commonplace characterizations and structural relationship with the central narration, however, demonstrates Cervantes's attempt to incorporate and harmonize disparate literary elements into a single narrative according to the theoretical precepts of his age, especially unity-in-variety, admiratio and verisimilitude. The interpolated stories are constructed as symmetrical patterns of recurrent tropes and themes with varying degrees of coordination with each other, as well as with the main plot. This intricate structure demonstrates the incremental nature of Cervantes's innovation. Rather than constituting a decisive rupture with contemporary theoretical postulates, as the critical consensus holds, his approach to narrative and character develops in consonance with them. [ABSTRACT FROM AUTHOR]

Miguel de Cervantes's Don Quijote, Part One (1605) purports to be an historical chronicle of the exploits of a mad Manchegan knight, a conceit which Don Quijote, Part Two (1615) develops by staging encounters between Don Quixote and Sancho Panza and characters who have read the 'true history' of Part One. This structure culminates in the episodes involving the Duke and Duchess, assiduous readers of Part One who concoct elaborate pranks at Quixote's and Sancho's expense. Consumed by their merrymaking, the Duke and Duchess reveal themselves to be quixotic in a peculiarly literary way: they ape Quixote's madness by miming his exaggerated imitation of literature. In this way, Part One, like the books of knight errantry that drive Quixote insane, becomes the stimulus for extravagant behaviour. This identification simultaneously celebrates and satirizes the popular reception and power of Cervantes's own work, which itself achieves a bizarre capacity to drive sane individuals to behavioural extremes. [ABSTRACT FROM AUTHOR]

This article provides a literary criticism for the book "Don Quijote" by Miguel de Cervantes. The author comments on the elements of political satire and parody present in the first part of the book, particularly as it related to the Spanish monarchy's territorial expansion and colonization. He also describes the representation of the socioeconomic conditions in Spain during the 16th century, as exemplified by the episode regarding the mythological king Mambrino and his golden helmet.

The article examines Miguel de Cervantes' novella "El celoso extremeño." The representation of the character Carrizales' jealousy in the novel is said to correspond to early modern notions of commercial ethics. It claims that it transcends that of a traditional jealous husband. It says that the novella also creates a more nuanced character study involving an economic discourse that links jealousy and avarice.