In his Prologue to the first part of Don Quixote, Cervantes claims the book is the “child” of his understanding and the “offspring” of his efforts, and yet he also says, “…though I seem to be father, I am the stepfather of Don Quixote.” The distinctness of Cervantes’s step-fatherly role becomes readily apparent as we progress through the text and grow perplexed by its bewildering labyrinth of authors.
According to the narrative, Cervantes is actually placed at considerable distance from the text itself. The legendary Alonso Quixada (or perhaps Quexada or Quijano) who dubs himself Don Quixote, is apparently a well-known tale debated by various authors and there are records found in the “Annals of La Mancha” which the anonymous author (presumably Cervantes) attempts to cobble together. Consider the following passage from Chapter VIII of Part I during which Don Quixote’s sword is drawn, about to engage in battle against a brave Basque:
“But the difficulty in all this is that at this very point and juncture, the author of the history leaves the battle pending, apologizing because he found nothing else written about the feats of Don Quixote other than what he has already recounted. It is certainly true that the second author of this work did not want to believe that so curious a history would be subjected to the laws of oblivion, or that the great minds of La Mancha possessed so little interest that they did not have in their archives or writing tables a few pages that dealt with this famous knight…” (65).
Here the story has been interrupted, it becomes a historiography until the second author takes over the narrative in Part II of Book I (Chapter IX). This second author claims to have searched high and low for the conclusion of Don Quixote’s battle with the Basque before eventually discovering a book in a marketplace in Toledo entitled “History of Don Quixote of La Mancha.” However it is written by an Arab historian named Cide Hamete Benengeli (thus obscuring the authorship of the text even further). Several times the second author notes the “luck” or “fortune” he had experienced while randomly piecing together this text as a mosaic of different narratives, or the work of many hands. Shortly thereafter we learn that over the course of a month and a half, a Morisco is hired to translate the text from Arabic into Spanish (a Morisco is a former Muslim forced to convert to Christianity under penalty of expulsion or death). This Morisco translator becomes the most important author of the subsequent text as he offers brief insights as well as omissions of Don Quixote’s story –each of which significantly stamps our understanding of the novel. Despite the fact that the “second author” claims that lying is a common trait among the Arabs, he nevertheless notes that this particular Morisco translator has chosen brevity against overstatement, and thus there is a certain degree of untruth, but such is true of all literary writing. His authorial discretion is crucial.
There are several points in the text during which the Morisco translator explicitly and unsurprisingly praises the Arab historian, Cide Hamete Benengeli (Chapter XV) and even admits to bearing eyewitness testimony to Sancho Panza regularly. This translator serves as an alternative source of “historical” verification, confirming or denying the writings of Cide Hamete Benengeli. Volume I concludes with an admission that this narrative was in fact pieced together from works in the Manchega Archives, leaving open the question of authorship once again. However Volume II (published ten years later in 1615) is also quickly revealed to be the work of Cide Hamete Benengeli, later referred to as a “Mohammaden Philosopher” (who Thomas Pangle suggests could be an Averroist or perhaps at least a Christian in name only).
Between the publication of the two volumes of Don Quixote, the Spanish Inquisition took root, burning books and torturing heretics in the pursuit of a pure society. Thus the need for Cervantes to further disguise his authorship under a veil of opacity was never stronger. Especially when considering Don Quixote to be a satire of the dangers of religious fanaticism. What is to become of a silly, anachronistic, delusional old man? The novel rather dangerously offers us the detached perspective of a philosopher. We gleefully watch a delusional old man convince himself of the truth of sacred scriptures, however whereas many theologians are convinced the world is interrupted by particular suspensions of the natural order –i.e. miracles– Don Quixote instead sees the ordinary world around him as enchanted and ennobled, rather than interrupted, as well as occasionally bedeviled by classically-oriented spirits. His project is a unique blend of ancient and modern values, from ancient heroism to modern existentialism, Don Quixote remains an incompetent troublemaker, a man in whom we rarely place our trust but nevertheless hold a certain indulgent infatuation while eagerly awaiting more ridiculous escapades. The end of the book sadly concludes in disillusionment and the death of a zealot –his immoderation proves to be his own demise and our joy turns to sorrow.
In the words of Thomas Pangle:
“Don Quixote is a noble, intelligent, highly imaginative and articulate but fanatically moralistic and pious gentleman who has become inebriated to the point of insanity by the idea of devoting his life to the imperial religious heroism and chaste love he ﬁnds commanded by sacred Scripture tinctured by classical moral philosophy. In other words, the ﬁgure and the deeds and the animating beliefs of Don Quixote represent a grotesquely caricatured, and thus appropriately veiled, portrait of the fanaticism to which militant “modern” religion can lead.”
And this all comes down to us through several layers of ambiguity collected from historical annals, scraps and fragments, eyewitness testimony, Arabic histories, translators, and compilers. Whereas books like the Bible make vain attempts to bridge the gulf that exists between literature and, Don Quixote makes it painfully apparent that logos is always framed and colored by an author’s aesthetic whims, thus posing challenges to people who propound the inerrant sacredness in written stories.
For this reading I used Edith Grossman’s brilliant translation of Don Quixote as well as Thomas Pangle’s enlightening essay Preliminary Observations on the Theologico-Political Dimension of Cervantes’ Don Quixote.