by Ilan Stavans
7 | SHAKESPEARE’S QUIXOTE
Robin Chapman, Shakespeare’s Don Quixote (London: Book Now, 2011); James Fitzmaurice-Kelly, Cervantes and Shakespeare (London: Oxford University Press, 1916); Javier Herrero, “Sierra Morena as Labyrinth: From Wilderness to Christian Knighthood,” Forum for Modern Language Studies, 17 (1981): 55–67; Myriam Yvonne Jehenson, “The Dorotea-Fernando/Lucinda-Cardenio Episode in Don Quijote: A Postmodernist Play,” MLN, 107 (1992): 205–9; Tomás Pabón, “Cardenio en Cervantes, Shakespeare y Fletcher,” in Actas del II Congreso Internacional de la Asociación de Cervantistas, edited by Giuseppe Grilli (Naples, Italy: Instituto Universitario Orientale, 1995), pp. 371–78; and William Shakespeare and John Fletcher, Cardenio, or The Second Maiden’s Tragedy, edited by Charles Hamilton (Lakewood, Colorado: Glenbridge, 1994).
8 | THE EBULLIENT BUNCH
Mikhail Baryshnikov, Baryshnikov: In Black and White (New York: Bloomsbury, 2002); Walter Benjamin, “Franz Kafka: Beim Bau der Chinesischen Mauer,” in Selected Writings, Vol. 2: 1927–1934, translated by Rodney Livingstone et al., edited by Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge, Massachusetts: Harvard University Press, 1999), pp. 494–500; Jorge Luis Borges, “Parable of Cervantes and the Quixote,” in Labyrinths, translated by James E. Irby (New York: New Directions, 1964); Lord Byron, Don Juan, edited by T. G. Steffan, E. Steffan, and W. W. Pratt, further readings by Susan J. Wolfson (New York: Penguin Classics, 1996); Anthony J. Cascardi, The Bounds of Reason: Cervantes, Dostoevsky, Flaubert (New York: Columbia University Press, 1986); Miguel de Cervantes, Don Quijote de la Mancha, ilustrated by Gustave Doré (Barcelona: Mundo Actual de Ediciones, 1981); Anthony J. Close, The Romantic Approach to Don Quixote (Cambridge: Cambridge University Press, 1978); Fyodor Dostoyevsky, Complete Letters: 1878–1871, edited by David A. Lowe (New York: Ardis, 1991); Dostoyevsky, The Idiot, translated by Richard Pevear and Larissa Volokhonsky (New York: Alfred A. Knopf, 2001); Dostoyevsky, A Writer’s Diary, Vol. 2: 1877–1881, translated and annotated by Kenneth Lantz (Evanston, Illinois: Northwestern University Press, 1994); Peter G. Earle, “In and Out of Time (Cervantes, Dostoevsky, Borges),” Hispanic Review, 71, no. 1 (2003): 1–13; Victor Espinós, El “Quijote” en la música universal (Barcelona: Instituto de Musicología, 1947); Bárbara Esquival-Heinemann, Don Quijote’s Sally into the World Opera: Libretti between 1680 and 1976 (New York: Land, 1993); Gustave Flaubert, The Letters of Gustave Flaubert, Vol. 1: 1830–1857, and Vol. 2: 1857–1880, selected, edited, and translated by Francis Steegmuller (Cambridge, Massachusetts: Harvard University Press, 1980); Flaubert, Madame Bovary, translated by Margaret Mauldon, introduction by Malcolm Bowie, notes by Mark Overstall (Oxford: Oxford University Press, 2004); Soledad Fox, Flaubert and Don Quijote: The Influence of Cervantes on Madame Bovary (Brighton, England: Sussex Academic Press, 2008); Theodore Huebener, “Goethe and Cervantes,” Hispania, 33, no. 2 (May 1950); Franz Kafka, “The Truth about Sancho Panza,” in The Collected Stories, translated by Willa and Edwin Muir (New York: Schocken Books, 1971); Jules Massenet, My Recollections (New York: Greenwood, 1970); Rachel Schmidt, “The Romancing of Don Quixote: Spacial Innovation and Visual Interpretation in the Imaginiary of Johannot, Doré, and Daumier,” World and Image, 14 (1998): 354–70; Arturo Serrano Plaja, Realismo “mágico” en Cervantes: Don Quijote, visto desde Tom Sawyer y El Idiota (Madrid: Gredos, 1967); David Thomson, Rosebud: The Story of Orson Welles (New York: Alfred A. Knopf, 1996); Alan Trueblood, “Dostoyevsky and Cervantes,” Inti, 45 (1997): 85–94; and Rafael Utrera, “El Quijote en cine y televisión,” Ínsula (1993): 558–59.
9 | AMERICA’S EXCEPTIONALISM
Hugh Henry Brackenridge, Modern Chivalry, Vol. 1: Containing the Adventures of Captain John Farrago and Teague O’Regan, His servant, edited by Claude M. Newin (Whitefish, Montana: Kessinger, 2007); Frank Brady, Citizen Welles (New York: Scribner, 1989); William Cullen Bryant, The Poetical Works of William Cullen Bryant, edited by Parke Godwin (2 vols.; New York: D. Appleton, 1883), vol. 2, p. 352; Simon Callow, Orson Welles (New York: Viking, 1996); Américo Castro, “Cervantes: The Orientation of Style,” in The Proper Study: Essays on Western Classics, edited by Quentin Anderson and Joseph Anthony Mazzeo (New York: St. Martin’s Press, 1962); John Dos Passos, Travel Books and Other Writings: 1916–1941 (New York: Library of America, 2003); Manuel Durán, “El impacto de Cervantes en la obra de Twain,” Insula, 661–62 (January–February 2002): 19–23; Joseph Ellis, American Sphinx: The Character of Thomas Jefferson (New York: Alfred A. Knopf, 1997); Ludwig Flato, editor, Man of La Mancha: The Music Score (New York: S. Fox, 1968); Montserrat Ginés, The Southern Inheritors of Don Quixote (Baton Rouge: Louisiana State University Press, 2000); Charles Haywood, “Musical Settings to Cervantes Texts,” in Cervantes across the Centuries: A Quadricentennial Volume, edited by Angel Flores and M. J. Benardete (New York: Gordian Press, 1947), pp. 264–73; William Dean Howells, My Literary Passions, http://www.gutenberg.org/cache/epub/3378/pg3378.html; Harry Levin, “Don Quixote and Moby-Dick,” in Cervantes across the Centuries: A Quadricentennial Volume, edited by Angel Flores and M. J. Benardete (New York: Gordian Press, 1947), pp. 227–36; James Russell Lowell, The Complete Writings of James Russell Lowell (Boston: Houghton Mifflin, 1904); Herman Melville, Moby-Dick: or, The Whale, introduction by Andrew Delbanco, commentary by Tom Quirk (New York: Penguin Classics, 2002); Muppet Central, http://www.muppetcentral.com; George Santayana, “Tom Sawyer and Don Quixote,” Mark Twain Quarterly, 9 (Winter 1952): 1–3; Freidhelm Schmidt-Welle and Ingrid Simson, editors, El Quijote en América (Amsterdam: Rodolphi, 2010); Susan Sontag, Where the Stress Falls (New York: Farrar, Straus & Giroux, 2001); Ilan Stavans and William P. Childers, “Tweeting at Windmills: Don Quixote in the Twenty-First Century,” Kenyon Review Online, Winter 2015; John Steinbeck, A Life in Letters, edited by Elaine Steinbeck and Robert Wallsten (New York: Penguin Books, 1989); Mark Twain, Adventures of Huckleberry Finn, introduction by John Seelye, notes by Guy Cardwell (New York: Penguin Classics, 1985); Twain, The Adventures of Tom Sawyer, introduction by John Seelye, notes by Guy Cardwell (New York: Penguin Classics, 1986); Dale Wasserman, The Impossible Musical: The “Man of la Mancha” Story (New York: Applause, 2003); and Wasserman, with Joe Darion and Mitch Leigh, Man of La Mancha: A Musical Play (New York: Dell, 1969).
10 | FLEMISH TAPESTRIES
J. A. G. Ardila, “Traducción y recepción del Quijote en Gran Bretaña (1612–1774),” Anales Cervantinos, 37 (2005): 253–65; Martin C. Battestin, “The Authorship of Smollett’s Don Quixote,” Studies in Bibliography, 50 (1997): 295–321; Julie Candler Hayes, “Tobias Smollett and the Translators of Don Quijote,” Huntington Library Quarterly, 67, no. 4 (2004): 651–68; Miguel de Cervantes, Don Quixote, translated by J. M. Cohen (London: Penguin Classics, 1961); Cervantes, Don Quixote, translated by Edith Grossman, introduction by Harold Bloom (New York: Ecco, 2003); Cervantes, Don Quixote, translated by Charles Jarvis (New York: Washington Square Press, 1968); Cervantes, Don Quixote, edited by Tom Lathrop (New York: Signet, 2011); Cervantes, Don Quixote, translated by James H. Montgomery (Cambridge, Massachusetts: Hackett, 2009); Cervantes, Don Quixote, translated by Peter Motteux, introduction by Stephen Boyd (London: Wordsworth Editions, 1992); Cervantes, Histoire de l’admirable Don Quichotte de la Manche, translated by François Filleau de Saint-Martin (1677); Cervantes, The History and Adventures of the Renowned Don Quixote, translated by Tobias Smollett, introduction by Carlos Fuentes (New York: Modern Library, 2001); Cervantes, The History of Don Quixote of the Mancha, translated by Thomas Shelton, introduction by James Fitzmaurice-Kelly (London: N. Nutt, 1896); Cervantes, The Ingenious Hidalgo Don Quixote de la Mancha, translated by Thomas Rutherford (London: Penguin, 2000); Robert Chambers, Smollett: His Life and a Selection from His Writings (London: W. & R. Chambers, 1867); Carmelo Cunchillos Jaime, “Traducciones inglesas del Quijote: la traducción de Motteux,” Cuadernos de investigación filológica, 10, nos. 1–2 (1984): 111–28; Daniel Eisenberg, “The Text of Don Quixote as Seen by Its Modern Engl
ish Translators,” Cervantes, 26 (2006): 103–26; Lionel Kelly, editor, Tobias Smollett: The Critical Heritage (New York: Routledge, 1987); Edwin B. Knowles, “Thomas Shelton, Translator of Don Quixote,” Studies in the Renaissance, 5 (1958): 160–75; Paula Luteran, Six French and English Translations of Don Quixote Compared (Lewiston, New York: Edwin Mellen Press, 2010); Michael J. McGrath, “Tilting at Windmills: Don Quixote in English,” Cervantes, 26 (2006): 7–40; Lewis Melville, The Life and Letters of Tobias Smollett (1721–1771) (London: Faber & Gwyer, 1926); James H. Montgomery, “Was Thomas Shelton the Translator of the ‘Second Part’ (1620) of Don Quixote?,” Cervantes, 26 (2006): 209–17; James Parr, “Don Quixote: Translation and Interpretation,” Philosophy and Literature, 24, no. 2 (October 2000): 387–405; Ronald Paulson, Don Quixote in England: The Aesthetics of Laughter (Baltimore, Maryland: Johns Hopkins University Press, 1998); Anthony Pym, “The Translator as Author: Two Quixotes,” Translation and Literature, 14 (2005): 71–81; Dale B. J. Randall and Jackson C. Boswell, Cervantes in Seventeenth-Century England: The Tapestry Turned (Oxford: Oxford University Press, 2009); Carmine Rocco Linsalata, Smollett’s Hoax: Don Quixote in English (Stanford, California: Stanford University Press, 1956); G. S. Rousseau, Tobias Smollett: Essays in Two Decades (Edinburgh: T. & T. Clark, 1982); Ilan Stavans, “El ‘Quijote’ en inglés,” El País Cultural (Montevideo, Uruguay), no. 1121 (June 3, 2011): 6–7, translated into English in A Critic’s Journey (Ann Arbor: University of Michigan Press, 2010), pp. 12–21; Stavans, “One Master, Many Cervantes,” Humanities, 29, no. 5 (Seplember–October 2008); Stavans, Spanglish: The Making of a New American Language (New York: HarperCollins, 2002); and Stavans, “The Translators of the Quijote,” Los Angeles Times (December 14, 2003).
EPILOGUE
Donki, http://www.donki.com; Matthew Fraleigh, “El ingenioso samurai Don Kihote del Japón: Serizawa Keisuke’s A Don Quixote Picture Book,” Review of Japanese Culture and Society (December 2006): 87–120; and Ilan Stavans, On Borrowed Words: A Memoir of Language (New York: Viking, 2001).
INDEX
Page numbers listed correspond to the print edition of this book. You can use your device’s search function to locate particular terms in the text.
Note: Italic page numbers refer to illustrations.
Abbott, Lou, 28
Abramovitch, Sholem Yankev, 217
Achebe, Chinua, 172
Acker, Kathy, 159, 222
Adams, John, 146
Adler, Alfred, 41
Adventures of Don Quixote (1933), 219
Aguirre, Lope de, 126–27
Aguirre, the Wrath of God (1972), 126–27
Agustini, Delmira, 96
Alvarez, Julia, 203
Amadis of Gaul, xvii, 5, 7–8, 9, 48, 173
American exceptionalism, 87, 145, 146, 168
anime series, 221
Anzaldúa, Gloria, 169
archetypes, 42
Arco, Alonso del, 21
Arévalo, Mariano, 96, 215–16
Argensola, Lupercio Leonardo de, 64
Argentina, 96
Arielismo, 98
Ariosto, Ludovico, 13, 113, 143, 187
Aristotle, 173
Asunción Silva, José, 96
asylums, 38
Auden, W. H., 165–66, 221
Auerbach, Erich, 52, 220
Avellaneda, Alonso Fernández de, 15, 25, 64–66, 68, 118, 214
The Awful Dr. Orloff (1961), 163
Azorín, 32–33, 89, 90, 218
Bacon, Francis, 25
Balanchine, George, xxvi, 221
ballets, 125, 216, 219, 221
Balzac, Honoré de, 36, 129
Baroja, Pío, 89, 90
Baron de Carteret, 19
baroque style, xxii, 55
Barth, John, 159
Battle of Lepanto (1571), 14, 23
Baum, J. Frank, 30
Beckett, Samuel, 28, 220
Béjar, Duke of, 49–50
Bell, Aubrey, 137
Bellow, Saul, 159, 160
Ben-Gurion, David, 82
Benjamin, Walter, 44–45, 141
Berkeley, George, 74
Bialik, Chaim Nachman, 218
Bible, xviii, 50, 121, 128, 172, 176
Bierce, Ambrose, 78, 81, 82, 205
bildungsroman, 9, 51
Blake, William, 124
Bloom, Harold, 115, 193
Boccaccio, Giovanni, 13, 54
Bolaño, Roberto, 28, 102, 222
Bolivia, 100
Bolshevik Revolution, 125
Borges, Jorge Luis
on Cervantes, xviii, xxi, xxv, 210
devotion to El Quijote, 101
Discusión, 55
“An Investigation of the Word,” 73–75
“Parábola de Cervantes y el Quijote,” 142–43
“Pierre Menard, Author of the Quixote,” xxv, 87–88, 102, 103–9, 142, 219
“El Sur”, 103
Bouvier (attributed to Diego Velázquez), Cervantes, 22
Brackenridge, Hugh Henry, 145–46, 215
Bradbury, Ray, 128
Britten, Benjamin, 165
Bryant, William Cullen, xxv, 147, 217
Bunyan, John, 187
Burra, Edward, 219
Burton, Robert, 39
Byron, George, Lord, 9, 187–88
Byron, William, 12
Cabeza de Vaca, Álvar Núñez, 169
Caïn, Henri, 126, 218
Calderón de la Barca, Pedro, xxii, 55, 119
C. A. Leslie and Danforth, 21
Calvino, Italo, 131
Canavaggio, Jean, 12
canción de protesta, 110
Cantinflas (Mario Moreno), xv, 98–99, 128, 221
capitalism, 72
Caribbean, xxiv, 89, 112
Carmona, Salvador, 21
Carroll, Lewis, 172
Carteret, Baron de, 19
cartoon adaptation of Don Quixote into Spanglish, 169
Casal, Julián del, 96
Castillo, J. del, 21
Castro, Fidel, 100
Catalonia, 203
Catherine, Lady Suffolk, 179–80
Catholic Church
Holy Office of the Inquisition, xxii, 10, 38, 47–48, 50, 77
iconography used in New World, 109
Index of Censored Books, 47–48, 50
societal role of, 54
Cave of Forgotten Dreams (2010), 127
censorship, 47, 48–50
Cervantes, Rodrigo, 14, 172–73
Cervantes Saavedra, Miguel de. See also specific works
adjectivization of name in Spanish, 81, 83, 177
approach to Don Quixote as character, xiv, xix, 9, 16–17, 75
artistic concerns of, xxii
biographies of, 12, 217, 220
birth of, 12, 213
complexity of language of, xxiii, 70–75
composition of novel, xxi, 10–12
as contemporary of Shakespeare, 12, 111–12
as converso, 12, 78
on deathbed, xxi
death of, 3, 10, 15, 94, 111, 116, 214, 223
early years of, 13
elements uniting with Shakespeare, xxv, 100, 112, 114, 115, 116, 131
entremeses of, 11, 14
father as surgeon, 38
fluency in languages, 172–73
Freud’s study of, 41–42
in Italy, 13–14, 111
legal documents on, 12–13
and modernity, xxvi
narrative self-portraits of, 16, 17, 23–24
nonreligious worldview of, 54–55
and novel as literary genre, 51, 157
novellas of, 14, 16, 17, 19, 42, 112, 220
parody used by, 9, 36, 39
plasticity of language, xxii, 70
as playwright, 4, 11
portraits of, 17, 18, 19–20, 19, 20, 21–23, 22
possible Jewish background of, xxii, 12, 20
reburial of, 223
sonnets
of, 4
style of, 11, 41, 55
syntax of, 70–71
as tax collector, 35
Chaliapin, Feodor, 219
Challe, Robert, 176, 214
La Chanson de Roland, 173
Chapí, Ruperto, 218
Chapman, George, 113
Chapman, Robin, 221–22
Chaucer, Geoffrey, 51, 54
Chavez, Cesar E., 160
Chávez, Hugo, xxiv, 94
Chesteron, G. K., 219
Chicano literature, 170
Childers, William P., 159
Chile, 109
chivalry novels
characteristics of, 51, 77–78
parody of, xxiii, 7–8, 9, 36, 39, 48–49, 64, 152, 173
chocolate, 110
Cicero, 173
Cisneros, Sandra, 203
classic
definitions of, xix
lack of nationality, xxvi, 108
El Quijote as, 89, 108
Cleese, John, 167–68, 221
Clemencín, Diego, 216
Cobb, Lee J., 164
code-switching, 202
Coelho, Paolo, 172
Cohen, J. M., 177, 178, 196–97, 220
Coleridge, Samuel Taylor, xxi
Colet, Louise, 129
Collaut-Valera Mendiguita, Frederico, 95
The Colloquy of the Dogs (Cervantes), 42, 216
Colombia, 96
Colón, Jesús, 170–71, 221
Columbus, Christopher, xxii, 79, 82, 178
Comedies (Cervantes), 14
Comic 919, 169
Conrad, Joseph, 98
Conseil de l’Europe, 32
contextual reading, 88
Convent of the Barefoot Trinitarians (Trinitarias Descalzas), 3, 223
La Convivencia, 20–21, 78
Cortázar, Julio, 109