Part One


PROLOGUE

1. In the biographical sketch of Cervantes prefixed to his translation of the
Don Quixote, John Ormsby writes: "The words in the preface to the First
Part of ‘Don Quixote' are generally held to be conclusive that he conceived
the idea of the book, and wrote the beginning of it at least, in a prison, and
that he may have done so is extremely likely. At the same time it should be
borne in mind that they contain no assertion to that effect, and may mean
nothing more than that this brain-child of his was begotten under circum-
stances as depressing as prison life. If we accept them literally, the prison
may well have been that in which he was confined for nearly three months at
Seville." A recent biographer, Mariano Tomds (The Life and Misadventures of


Miguel de Cervantes , translated from the Spanish by Warre B. Wells [Bos-
ton: Houghton Mifflin, 1934], pp. 160-161) states: "When . . . Miguel de Cer-
vantes was released from the prison of Seville ... he also carried with him
. , . the first part of The Ingenious Knight, Don Quixote de la Mancha

2. In its original form, this proverb reads: " Al rey mando?l give orders to
the king"; compare "An Englishman's house is his castle."

3. From a fable, De cane et lupo, of the twelfth-century Walther [Gual-
terus] Anglicus. Compare Aesop and La Fontaine.

4. Horace, Odes, 1, iv, 13-14.

5. For the first of these biblical quotations, see Matthew 5:44 and Luke 6:
27, 35. For the second, Matthew 15:19 and Mark 7:21.

6. These lines are from Ovid's Tristiciy i, ix, 5-6; the Cato referred to is
Dionysius Cato, author of the Disticba de Moribus, a verse treatise on morals
and manners widely used as a school text in the Renaissance era.

7. Reference here is to the valley of Elah, mentioned in I. Samuel 17:2; in
the Vulgate, Elah is rendered as Terebinthus.

8. Noted thief of classical mythology, giant son of Vulcan, who dwelt on
Mount Aventinus and disturbed the entire region round about with his depre-
dations; he stole the cattle of Geryon from Hercules and was slain by him;
see Ovid's Fasti , 1, 543 ff., Vergil's Aeneid f vm, 190 ff., and other Latin
Writers.

9. Allusion to the Epistolae Familiares (1539-45) of Antonio dc Gue-
vara. Orsmby finds this "a touch after Swift's heart."

10. Leon the Hebrew (died in 1520) was the author of the Dialoghi
d'Amore , published in 1535.

11. The Amor de Dios of Cristobal de Fonseca was published in 1594.

12. See Chapter 11 following and note 2.



PREFATORY VERSES



13. These pieces are burlesques on the laudatory poems which customarily
prefaced the books that appeared in Cervantes' day. They are not to be
taken as serious poetry. Urganda is a personage in the Amadis of Gaul, Lo-
beira's famous romance of chivalry (see Part I, Chapter vi). She in a manner
combines the traits of Morgan the Fay, Vivien, and Merlin, the connotation
here being that of "magic," which the author, in the original Spanish, play-
fully endeavors to suggest by means of a most unusual verse form. The epithet
"Desconocida" (rendered as "Unknown") refers to Urganda's manifold
disguises or transformations? "the Unrecognized." As for the verse form in
question, it is a ten-line stanza with the rhyme scheme abbaaccddc; but its pe-
culiarity consists in lopping off the final syllable of the last word in each verse,
throwing the assonantal rhyme on the penultimate vowel. Thus:

De un noble hidalgo manche--
contaris las aventu--
a quien ociosas lectu--
trastomaron las cabe--

This passage from the beginning of the third stanza will serve to show how it
is done. (It will be noted that the lopped-off syllables may or may not
rhyme.) The invention of this form was commonly attributed to Cervantes,
though it does him no great credit, but it probably was used before his time.
It is one that in reality cannot be imitated in English, and there would seem
to be little point in making the attempt. Accordingly, in this first piece 1 have
ignored the lopped-line technique, but in two short ones later on in which it is
again employed I have tried to give some idea of it.

14. Cervantes' patron; see the dedication of Part I.

15. Of La Mancha.

16. This is seen as a dig at Lope de Vega, whose portrait in a couple of early
volumes of his work had beneath it a heraldic shield.

17. Alvaro (Alvarez) de Luna, Constable of Castile and favorite of John II,
lost the royal favor and was beheaded at Valladolid in 1450.

18. Allusion to the Spanish captivity of Francis I of France, Charles V's pris-
oner.

19. Allusion to Juan Latino, Negro slave of the Duke of Sesa, who was made
professor of Latin and Rhetoric at the University of Granada, a post that
he held for sixty years.

20. This sonnet has reference to Don Quixote's penance in the Sierra Morena
as narrated in Part 1 , Chapters xxv ff.

21. See Part I, Chapter xxv and note 6.

22. See Part 1 , Chapter 1 and note 4.

23. Heroine of the Amadis of Gaul.

24. Oriana's castle near London.

25. The lady's reputation had suffered from the too frequent visits which
Amadis paid to her castle.

26. Reference has been seen to the author himself or to Lope de Vega.

27. The buzcorona consisted in cuffing a person over the head as he
bent to kiss another's hand.

28. "Donoso" signifies gay, witty, or graceful. "Interlarded" is for
"entreverado"--literally, "intermingled." On the verse form, see
note 1 preceding. For the reader's convenience, the last word of each
line has been given in full in parentheses, which is not done in the
original. The imitation is by no means an exact one, since in the Span-
ish it is not merely the final consonant or consonant and unaccented
final vowel that is omitted but an entire syllable that is normally
pronounced.

29. The allusion is not clear. No such character as Villadiego the
Silent is to be met with in the comedy Celestina, referred to a few
lines farther on.

30. Celestina, or the Tragicomedy of Calisto and Melibaea, by Fer-
nando Rojas, published in 1499.

31. Babieca was the Cid's famous mount.

32. Hero of Lazarillo de Torrnes, the well-known novela by Diego
Hurtado de Mendoza. In this picaresque tale, Lazarillo steals his
blind master's wine by means of a straw. Another allusion to the
work will be found in Part I, Chapter xxii.

33. These sonnets are very inferior productions, and the first one,
in particular, is so muddled at the end as to make little or no
sense; it is only by adopting, as I have done here, Hartzenbusch's
suggested emendation that one is able to extract a satisfactory
meaning from the closing lines.

34. Orlando was one of the Twelve Peers (see Part I, Chapters vi
and xux) ; there is, of course, a play on Peer and peer.

35. Angelica was Orlando's love who threw him over for Medoro; see
Part I, Chapter x, and elsewhere following.

36. Hero of the romance Knight of the Sun , Mirror of Princes and
Knights (Caballero del Febo , Espejo de Prin-cipes y Caballeros),
by Diego Ortunez de Calahorra and Marcos Martinez, first printed at
Saragossa in 1562.

37. Either an invented name or a printer's error for Solinan, a knight
mentioned in the Amadis of Gaul.

38. The Cid's famous steed.

39. The name Rocinante is from "rocin," a "hack."



CHAPTER I



40. In the past this village has been identified as Argamasilla de Alba,
in La Mancha, and a legend grew up to the effect that Cervantes had been
imprisoned there and hence had a grudge arainst the place "the name of
which I have no desire to recall." Thus, Ormsby, in his biographical
sketch of Cervantes, states emphatically: "That Argamasilla is Don Qui-
xote's village does not admit of a doubt," and he goes on to point out
that it is the only village in the region ("except perhaps its near
neighbor Tomelloso") that satisfies the topographical exigencies of the
narrative. More recent researches, however, have shown that down to the
beginning of the seventeenth century there was no jail in Argamasilla
and that Cervantes, in all probability, was never there. In the intro-
duction to his edition of Ludwig Ticck's German version of Don Quixote
(Strassburg, 1905, 1911), Wolfgang von Wurzbach compares this legend
to the fiction of the Arabic "author" of the tale, Cid Hamete Benengeli.
In his spurious continuation of Don Quixote, Alonso Fernandez de Avel-
laneda named Argamasilla as the village in question, but it is more
likely that Cervantes had no particular one in mind.

41. The phrase in the original, "duelos y quebrantos," has given commen-
tators and translators no end of trouble, and its meaning still remains
uncertain (see the extended note in Schevill and Bonilla's edition of
the Obras Completas, Vol. 15, Don Quixote, Tomo I, pp. 43 1-36). It
does not seem to have occurred in literature before Cervantes, who was
probably drawing upon the popular speech. It seems to have been a mixture
of the scraps of fowl and pork, etc., which it was permissible to eat
on Saturday, a day of semi-abstinence. Oudin in his French translation
of 1614 rendered the expression as "des oeufs et du lard," and Franciosini
in his Italian version (1621) has "frittate rognose," which he explains
in a marginal note as being "presciutto fritto con huova," In other
words, bacon and eggs, or ham and eggs, which Rodriguez Marin accepts
as a good translation. Jarvis translates as "pains and breakings" and
in his notes describes the dish as an "amlet" (omelet). Motteux: "griefs
and groans on Saturdays." All in all, "scraps" appears to be the best,
or at any rate the safest, rendering in English.

42. Feliciano de Silva was the author of the Chronicle of Don Florisel de
Niquea, published in 1532, 1536, and 1551. The first passage quoted immedi-
ately below is from this work; the second is from Torquemada's Olivante de
Laura (1564).

43. Reference is to the History of Don Belianis of Greece, by Jeronimo Fer-
nandez (1547).

44. Siguenza was one of the "minor universities" (universidades menores) and
a good deal of fun was poked at its graduates.

45. Protagonist of the ninth book of the Amadis series.

46. One of the principal personages in Boiardo's Orlando Innamorato.

47. Galalon (Ganelon) was the traitor of the Charlemagne legend.

48. The real de vellon was a coin worth about five cents. The cuarto, or
four-maravedi piece, was the eighth part of a real.

49. "All skin and bones." The expression is common in classic literature; it
will be found in Plautus and elsewhere. Goncia was an Italian jester in the
service of the Duke of Ferrara (1450-1470).

50. In Spanish, rocin.

51. Quixote (quijote) literally means the piece of armor that protects the
thigh. Quijada and Quesada were distinguished family names.



CHAPTER II



CHAPTER II



52. "Armas blancas" is properly "blank armor," but Don Quixote takes "blan-
cas" in its literal sense--"white."

53. The Campo de Monticl was the scene of the battle, in 1369, in which Peter
the Cruel was defeated by his brother Henry.

54. On Puerto Lapice and the windmills, see Chapters vm and ix following.

55. Ormsby:' "The particular venta [inn] ...in this and the next chapter
is said to be the Venta de Quesada, about two and a half leagues north of
Manzanares, on the Madrid and Seville road. The house itself was burned down
about a century ago, and has been rebuilt, but the yard at the back with its
draw-well and stone trough are said to remain as they were in his [Cervantes']
day."

56. The sense of "sanos de Castilla" appears to be "thieves in disguise"
(gypsy argot). "Castellano" means both "Castilian" and "a castellan."

57. These verses and the two quoted above are from an old ballad, "Moriana
en un Castillo," possibly dating from the fourteenth century.

58. A parody of the opening lines of the ballad of Lancelot of the Lake. See
Chapter xiii and note 2.

59. The first edition reads "alzada la visera"--"with his visor raised,"
but in that case, as commentators have pointed out, Don Quixote would have
had no trouble in feeding himself. Hartzcnbusch first emended "visera "
to read "babera" ("beaver"), an emendation which Ormsby adopted, but
later he decided that the correct reading was "atada la visera"--"with
the visor fastened," and with this Fitzmaurice-Kelly agrees. Rodriguez
Marin states that "alzada la visera" is obviously an error, though he
does not suggest an emendation of his own. I have followed Hartzenbusch
and Fitzmaurice-Kelly.



CHAPTER III



60. Percheles was the name of the place outside Malaga where fish were
dried and sold; Isles of Riaran was the name of a disreputable suburb
of the same city. T he District of Seville was an open space on the
river side of the town, near the Plaza de Toros, where fairs, etc.,
were held. The Olivcra of Valencia was a small plaza in the center
of the city. The Rondilla of Granada is said to have been in the Al-
baycin quarter. The Horse Fountain of Cordova refers to a section
on the south side of the town that took its name from a stone horse
standing over a fountain. The other expressions are self-explanatory.
All these localities arc said to have been the haunts of rogues and
thieves.

61. This clause ("conro que era otracosa de was importancia") is none too
clear.

62. An old plaza in Toledo.




CHAPTER IV



63. The barber was also the surgeon.

64. The word " haldudo " means "full-skirted."

65. A proverbial expression.

66. The sense of "perfumed" is "completely," "to perfection."

67. An obscure oath.

68. Alcarria was a sparsely populated region in the upper valley of
tne Tagus. Estremadura was a province noted for its backwardness.

69. A proverb.

70. Civet, a favored perfume, was imported in cotton packing.

71. Another proverb. Guadarrama was known for its spindles.



CHAPTER V



72. Cervantes is here confusing two old ballads. According to the
story, Carloto (or Chariot), Charlemagne's son, sought to kill
Baldwin that he might marry his widow. Sorely wounded, Baldwin
was found and succored by his uncle, the Marquis of Mantua.

73. The love of the Moor Abindarraez and the beautiful Jarifa
(or Xarifa) was a favorite theme with Moorish and Christian
minstrels and was incorporated by Jorge de Montemayor, re-
ferred to a few lines further on, in the second edition of his
Diana.

74. See the following chapter and note



CHAPTER VI



75. Fifth book of the Amadis of Gaul series, published in 1521.

76. Work by Feliciano de Silva (1535), ninth book of the Amadis
series.

77. Work by Antonio de Torquemada (1564), The Garden of Flowers
(1575) was translated into English in 1600 as The Spanish Mande-
ville.

78. Work by Lenchor Ortega de Ubeda (1556).

79. Fourth book of the Palmerin series (1533).

80. The first part of The Knight of the Cross, by an unknown hand,
appeared in 1543; the second part, by Pedro de Luxan, in 1563.

81. Published in four parts, at Seville, 1533-5°, one of the most
popular of the Carolingian romances.

82. The Fables of Turpin (1527) belong to the Carolingian cycle.
He was a monk of Saint-Denis and Bishop of Reims (mentioned by
Rabelais). In The Mirror of Chivalry he is constantly cited for
his veracity, and the Italian writers Ariosto, Boiardo, and Pulci
speak of him as "Turpin who never lies in any place."

83. Matteo Maria Boiardo, fifteenth-century author of the Orlando
Irmamorato.

84. As a token of respect.

85. Allusion to Ariosto's Spanish translator, Geronimo Jimenez de
Urrea, whose version was published at Antwerp in 1549.

86. The works referred to are the History of the Deeds of Bernardo
del Carpio , by Agustin Alonso of Salamanca (Toledo, 1585), and The
Famous Battle of Roncesvalles by Francisco Garrido de Villena (Val-
encia, 1555).

87. The Palmerin de Oliva (Salamanca, 1511), of uncertain author-
ship, was the first of the Palmerin cycle. The first Spanish edition
of the Palmerin of England appeared in 1547, translated from the
first Portuguese edition (1544?). See W. E. Purser, Palmerin of
England (London, 1904).

88. See Chapter 1, note 4.

89. This clause provided that when a person overseas was sued or
indicted he might have a certain allowance of time in which to put
in an appearance.

90. This work, by Johannot Martorell and Johan de Galba, was first
pub- lished in the Catalan language at Valencia in 1490; a Castil-
ian version appeared at Valladolid in 1511.

91. Jorge de Montemayor died in 1561, in which year the second ed-
ition of his Diana appeared (the date of the first is uncertain).
Gil Polo's continuation was published at Valencia in 1564. This was
the first and best of the Spanish pastoral romances. See H. A. Ren-
nert, The Spanish Pastoral Romances (Philadelphia: University of
Pennsylvania Press, 1912; originally published at Baltimore in 1892
by the Modern Language Association).

92. Published at Barcelona in 1573.

93. This pastoral by Luis Galvez de Montalvo of Guadalajara was pub-
lished at Madrid in 1582.

94. Work by Pedro de Padilla (Madrid, 1580).

95. Lopez de Maldonado's Cancionero appeared at Madrid in 1586.

96. A proverb.

97. According to Ormsby, this "shows pretty clearly that until Don
Quixote had made the author's name known, the Galatea had remained
unnoticed."

98. There were three editions of the Araucana: Madrid, 1569, 1578,
and 1590. The Austriada (Madrid, 1584) deals with John of Austria.
The Monserrate, by the dramatist Virues (Madrid, 1588) gave M. G.
Lewis the inspiration for his famous novel The Monk.

99. The work referred to is the Angelica of Luis Barahona de Soto
(Madrid, 1586).

100. In connection with this chapter and the works mentioned in it,
see Esther B. Sylvia, "Don Quixote's Library," More Books, The Bul
letin of the Boston Public Library, April 1940, pp. 135-51



CHAPTER VII



101. Reference to the Carolea of Geronimo Sempere (1560), dealing with
the victories of Charles V and the Leon of Spain of Pedro de la Vezilla,
a poem on the history of the city of Leon.

102. No work by this title is known. Luis de Avila was the author of a
prose commentary on the wars with the German Protestants.

103. Frcston was a magician; he was reputed to be the author of the
Belianis of Greece.

104. A proverb.

105. Sancho's wife appears under various names.



CHAPTER VIII



106. That is, "the Pounder."

107. The Biscayans, or Basques, were supposed to speak broken Spanish. One
characteristic of their speech was the use of the second person for the
first. This can be brought out in English only if one is using the "thou"
form. Thus Ormsby renders this passage: "...by the God that made me, un-
less thou quittest coach, slayest thee as art here a Biscayan." Like
Motteux, I have represented this idiosyncrasy of dialect by substituting
the objective for the nominative case? "me kill you."

108. A plav on the double meaning of "caballero"--"knight" and "gentleman."

109. The proverbial expression is "carry the cat to the water"--"llevar el
gato al agua." The Biscayan inverts the saying.

110. The allusion is to the Amadis of Gaul. The expression is one used at
the beginning of a fray. Agrajes is a bellicose personage in that romance.

111. This device of breaking off the tale between one part of a work and
the following one is common in the romances of chivalry.

112. Reference here is to the four-part division of the first volume of Don
Quixote, a division which the author ignored when he came to publish the
second volume. The first part originally ended here.



CHAPTER IX



113. Reference is to the Hebrew language.

114. Two arrobas would be about fifty pounds; two fanegas, a little over
three bushels.

115. That is, "Paunch and Shanks."



CHAPTER X



116. A tribunal, dating from the thirteenth century, for dealing with
crimes on the highway and in the open countryside.

117. Play on the words "homecidio" and "omecillo" ; the phrase "no catar
omecillo a ninguno" means "not to bear ill will, or a grudge, toward anyone."

118. Allusion to Boiardo's Orlando; it was, however, not Sacripante, but an-
other personage, Dardinel, who paid so dearly for the helmet of Mambrino, the
Moorish king. Another allusion to the Orlando occurs a few paragraphs fur-
ther on ("men of arms that came to Albraca to win the fair Angelica").

119. An imaginary realm.

120. In the Amadis of Gaul Firm Island is the promised land for the faithful
squires of knights-errant.



CHAPTER XI



121. Reference to the noria, a machine with buckets attached used in irrigation.

122. The verse form here is trochaic tetrameter with assonant rhymes in the
second and fourth lines, a variety of rhyme which is impossible to imitate
in English but which in Spanish with its stressed vowels is adapted to singing.
The ballad has accordingly been rendered with ordinary rhymes.



CHAPTER XII



123. Reference to the autos, or allegorical religious dramas.

124. Play on sarna, the itch, and Sarah, Abraham's wife. "Older than the itch"
is a proverb of ancient lineage.

125. Ormsby: "Though Cervantes tries to observe dramatic propriety by mak-
ing Pedro blunder, in the end he puts into his mouth language as fine and
words as long as Don Quixote's."

126. Literally, "which had the sun on one side [one cheek] and the moon on
the other." Compare Part II, Chapter XLVIH.



CHAPTER XIII



127. The name Quintanona is Spanish, meaning a woman with a hundred-weight
(quintal) of years, i.e., a centenarian.

128. These lines are from the ballad that was parodied in Chapter 11 preced-
ing. The ballad will be found in the Cancionero de Romances (Antwerp, n.d.)
and in Agustin Duran's Romancero General (Madrid: 1849-51), No. 352.

129. The Felixmarte of Hircania has been referred to in Chapter vi preced-
ing as Florismarte of Hircania (see note 4 there).

130. The lines are translated from the Orlando Furioso, xxiv, 57.

131. The word "Gachupin" literally means a Spaniard living in or returned
from the colonics.



CHAPTER XIV



132. This poem in the original is marked by an intricacy of structure (inter-
woven rhymes, etc.) that cannot be imitated in English. The rhyme scheme of
the sixteen-line stanza is abcabccdbbdeefef.

133. Envied as the bird that witnessed the crucifixion.

134. The Tagus River.

135. The Guadalquivir River.



CHAPTER XV



136. Yanguas was a district in the north of Castile. In the first edition
there is a confusion in the text between Yangue-sans and Galicians.

137. Untranslatable word play on "feo Blas " ("ugly Blas") and "Fierabras";
on Fierabras's balm see Chapter x preceding.

138. Another pun that cannot be rendered literally, a play on "sin costas"--
"without (court) costs," and "sin costillas"--" without ribs." Ormsby
translates it: ". . . that my beast should have come off scot-free while
we come out scotched."

139. The Greek city of Thebes.



CHAPTER XVI



140. The knight muttered his lady's name "between his teeth" as he went
into the fray; see Chapter xiii preceding.

141. In the sense of "star-lit" (compare Ormsby); that is, with crevices
in the roof through which the light of the stars could enter. The phrase
has troubled translators. Shelton omits it; Jarvis renders it as "illus-
trious"; Motteux has "wretched apartment."

142. The work bearing the title The Chronicle of the Noble Knights Ta-
blante de Ricamonte and Jofre, Son of Count Donason, etc., was published
at Toledo in 153 1 ; there is a copy in the British Museum. It is by an
unknown hand. A later version is attributed to one Nuno Garay. Count
Tomillas was a character in the novela entitled Story of Enrique de
Oliva, King of Jerusalem, Emperor of Constantinople (Seville, 1498).

143. Allusion to a children's tale that is part of the European folklore
heritage. (See Schevill and Rodriguez Marin.)

144. The highway police; see Chapter x preceding, note 1.



CHAPTER XVII



145. The phrase is from the beginning of one of the old ballads of the Cid.

146. Coin worth about a sixth of a maravedi.

147. The wool carders of Segovia were famous throughout Spain. On the Horse
Fountain of Cordova, see Chapter ill preceding, note 1. Fair of Seville was the
name given to a low quarter of that city.



CHAPTER XVIII



148. "Ceca" (literally, "a mint") was the name given to a part of the Mosque
of Cordova. A proverbial expression corresponding to our "from pillar to
post."

149. The reference here is not to Amadis of Gaul but to Amadis of Greece.

150. The participle " cuajada " means "curdled," which Ormsby renders as
"churned up." Clemencin substitutes "causada"--"caused."

151. Ormsby: "Suero de Quinones, hero of the Paso Honroso at Orbiga in
1434, used to fight against the Moors with his arm bare."

152. The sense is either "trail my fortune" or "my fortune creeps." There
may be a double meaning. The asparagus plant would suggest the latter in-
terpretation.

153. As has been noted, the Betis (Baetis) is the present Guadalquivir River.

154. Granada is on the Genii River.

155. Tartessus was an ancient maritime city of Spain.

156. Jerez (Xerez), near Cadiz, is noted for its sherry wines; our word "sherry"
is derived from the name.

157. River flowing down from the Cantabrian Mountains and emptying into the
Douro River below Valladolid.

158. This river of Spain and Portugal, emptying into the Atlantic, flows un-
derground for a part of its course.

159. The primary meaning of the word " peladilla " is "a sugar almond"; sec-
ondary meaning, "a small pebble." Ormsby: "Here came a sugar-plum from the
brook."

160. " Almendra " is literally an almond.

161. Dr. Andres Laguna translated Dioscorides with copious notes in 1570.

162. A proverb.

163. The original reads "I will send to the devil flock and shepherd's crook
(hato y garabato)."



CHAPTER XIX



164. Allusion to the story of Mambrino's helmet; see Chapter x preceding
and note 3. Malandrino ("malandrm "rascal") is a play on Mambrino.

165. " Encamisados ," that is, those wearing shirts (camisas) over their armoras
in a cavtisado, or night attack.

166. There is a word play here on " derecho "--"right" or "straight," and "tuerto"
--"wrong" or "crooked."

167. There is a confused text at this point in some of the editions; I have
followed the first edition. The latter part of the chapter in Ormsby is badly
jumbled.

168. "Moreover, if any, persuaded of the devil . . ."

169. Reference to a ballad of which Lockhart has a version. See Sylvanus Griswold
Morley's Spanish Ballads (New York: Henry Holt, 1911), pp. n8ff.

170. A proverb; literally, "The dead man to the grave, the living to the loaf."



CHAPTER XX



171. The original has "les aguo el contento del agua ."

172. A proverb.

173. A proverb.

174. The Horn is the constellation of Ursa Minor, with a curved shape some-
what like a hunting-horn. In this method of telling the time of night by
the stars, the arms were extended in the form of a cross and the hour was indi-
cated by the position of the Horn in relation to the arms.

175. Cato Zonzorino, or Caro the Censor; Sancho believes the name to be de-
rived from "zonzo"--"a blockhead."

176. The story that Sancho undertakes to tell is an old one, probably of Ori-
ental origin. It will be found in the Italian collection, Cento Novelle Antiche,
and there are also Latin and Provencal versions.

177. Compare Swift's Gulliver's Travels, Part II, Chapter 1: "I was pressed to
do more than one thing which another could not do for me."

178. As distinguished from a Moorish or Jewish convert, or "new Christian."

179. "Todo saldra en la colada ." We have the proverb today.

180. A proverb.

181. Compare the reference to Firm Island a little further on; see also Chap-
ter x preceding, note 5.

182. "Turkish fashion."

183. Tag of a proverb: "Whether the pitcher hits the stone or the stone the
pitcher, it will be bad for the pitcher."



CHAPTER XXI



184. The reading of the first edition, " pesada burla " has been followed here.
A later edition has " pasada " in place of "pesada," which has led some trans-
lators to render the phrase as "the late joke," "the late jest," etc.

185. Allusion to a proverb: "Please God that it be marjoram and not turn out to
be caraway."

186. The original is " malandantes meaning "unfortunate"; but there is a
slight play on " caballero andante"--"knight-errant."

187. Earlier translators have "cuts off," in accordance with a later reading,
" corta but the first edition has " harta " an obvious misprint for "bar pa,"
from " harpar (arpar)"?" to tear" or "claw." This example and the one given in
note 1 above will serve to show how a careful study of the original edition will
provide the modern translator with a more accurate text as a whole, even though
the variant in a particular case will often make little difference so far as
the English-language reader is concerned.

188. A proverb.

189. Sancho means Mambrino.

190. Literally, a changing of hoods. Reference is seen to a seasonal change of
hoods on the part of cardinals as provided for in an ecclesiastical manual
which Professor Schevill discovered in the Central Library of Zurich: Sa-
crarvnt Ceremoniarvm, sive ritvvm ecclesiastic orvm Sanctae Romanae Ec-
clesiae, libri tres, etc. (Rome, 1560). John S. Nainfa, S.S., in his Costume of
Prelates of the Catholic Church (Baltimore, 1900), has a passage concerning a
change of bishops' hoods, applicable also to cardinals.

191. Hartzenbusch, always free with his corrections of the author's text, would
substitute "enigma" or "prophecy" for "adventure," and "explain" for "carry
through (a c a bar)"

192. Ormsby: "Cervantes gives here an admirable epitome, and without any ex-
travagant caricature, of a typical romance of chivalry. For every incident
there is ample authority in the romances." John Gibson Lockhart, notes to
the Motteux translation: "The reader of romance does not need to be told
how faithfully Don Quixote . . .has abridged the main story of many a
ponderous folio. The imaginary career of glory which he unfolds before the
eyes of Sancho is paralleled almost ad literatim in the romance of Sir Degore.
. . . The conclusion of Belianis is almost exactly the same sort of adven-
ture."

193. There is some question as to what is meant by this "vengar quinientos
sueldos ." According to the Dictionary of the Academy, the verb " devengar "
signifies "to acquire the right to some . . . compensation by reason of labor
performed, services rendered, or other qualifications." Others have seen an al-
lusion to an old Castilian law providing damages of five hundred sueldos as
compensation for injury to person or property. In any event, whatever its
source, the gentleman of La Mancha's income was not a large one by modem
standards, seeing that the sueldo was worth anywhere from one to three
cents.

194. Two proverbs.

195. A proverb.

196. A proverb.

197. For the play on li litado " and " dictado," Ormsby's rendering has been
adopted.

198. Ormsby: "No doubt Pedro Tallez Giron, third Duke of Osuna, afterward
Viceroy in Sicily and Naples; ‘a little man but of great fame and for-
tunes . .



CHAPTER XXII



199. Of La Mancha.

200. The first edition reading is "tres precisos de gurapas "; a later edition
has "tres afios "--"three years."

201. A proverb.

202. It is interesting to compare the term "sing" in our American underworld
of today. The one who "sang" was as unpopular then as now. There are numerous
specimens of rogues' dialect in this chapter and indeed throughout the pages
of Don Quixote. " Gurapas " is one example.

203. A proverb.

204. Allusion to the ceremony of public flogging.

205. Proverbial expression.

206. This does not appear to agree with Don Quixote's belief in enchanters and
their spells, but he is here speaking, apparently, of love sorcerers.

207. The first edition has "no ay diablo later editions have " sumista " in
place of "1 diablo rendered by Motteux as "casuist" and by Ormsby as "ac-
countant."

208. A proverb.

209. Reference to the famous work by Diego Hurtado de Mendoza, one of the class-
ics of Spanish literature.

210. The proverb properly reads: "Do not go looking for five feet on a cat."

211. At the beginning of the chapter it was stated that the two men on horse-
back carried muskets.

212. A proverb.



CHAPTER XXIII



213. A proverb.

214. The passage beginning here and ending a few paragraphs below with the
words ". . . he thanked his master for. this favor" is not found in the first edi-
tion but is given in the second. Professor Schevill says: "We shall never know
(in the author's own words) ‘if the historian made a mistake' or if it was ‘care-
lessness on the part of the printer.' I believe that Cervantes, upon completing
[the first edition] wished to introduce the incident of the theft and for that
purpose wrote an [additional] sheet, leaving it with the manuscript, and then
forgot the additions and the changes they necessitated. Obviously, the printer
did not know what to do with the loose leaf and introduced it later, while the
text of [the second edition] was on the press." (Translated from Schevill's note
in Spanish.) This will explain why, later in the chapter, the author speaks of
Sancho as still having his ass, while still further on he again alludes to the
theft. As the text originally stood, the episode of the galley slaves and the
one related here all occurred on the same day, which was too much action for
so short a space of time. That was doubtless why Cervantes desired to insert
an interlude. Ormsby, in the latter part of the chapter, rather bungles the
matter by tampering with the text in order to cover the discrepancy. Compare
Part II, Chapters hi, iv, and xxvii.

215. The word "pollinos"--"ass-colts," missing in the original, has been sup-
plied by the translator.

216. Ormsby has: "with what Dapple used to carry."

217. A proverb previously quoted: "The thread leads to the ball of yarn."
"Thread" here has the sense of "clue."

218. That is, "thread."

219. That is, "Phyllis."

220. Cervantes seems to have thought well of this sonnet of his, as he later in-
serted it in one of his comedies. La Casa de los Celos y Selvas de Ardenia.

221. It will be noted that the theft of the ass is not mentioned here.

222. The ass is present again.

223. This passage is not found until the third edition. The edition of Brus-
sels reads ". . . Sancho on foot, consoled for the loss of his donkey by the
promise of the three ass-colts . . ." The thief's two names are here confused.

224. Proverbial expression.

225 Ormsby says: " This is the explanation commonly given of the phrase 'de
ambar ,' and it is true that scented doublets were in fashion in the sixteenth
century; but it seems somewhat improbable that a tattered doublet which had
been for six months exposed to all weathers would have retained sufficient
perfume to be detected."



CHAPTER XXIV



226. Clemencin believes that Cervantes wrote "in this province of Andalusia"
for the reason that the interlocutors were actually in that province at the
time; but Schevill remarks that "it is also possible that Cervantes had writ-
ten this story and (then) interpolated it without altering these details intro-
duced while the author himself was in Andalusia." (Translated from Schevill's
Spanish note.)

227. Allusion to the eleventh book (third and fourth parts) of the Arnadis.

228. The shepherd Darinel has been mentioned in Chapter vi preceding.



CHAPTER XXV



229. Ormsby, still trying to cover the textual discrepancy, has "bade Sancho
follow him, which he, having no ass, did very discontentedly."

230. Ormsby: "could talk to Rocinante" (!).

231. Sancho confuses the name Elisabad with "abad"--an "abbot."

232. The squire here begins a barrage of proverbs.

233. That is, no pegs on which to hang the bacon.

234. Poor Rock (Pena Pobre) was so named because those who sojourned there
lived in extreme poverty; Clemencin suggests that it was Mont St. Michel,
but Ormsby thinks the island of Jersey would be a better identification.

235. The sense of the name Beltenebros is "darkly fair."

236. It is at this point that the editor Hartzenbusch introduces the episode of
the theft of the ass.

237. The Hippogriff was the winged horse on which Astolfo went to seek news
of Orlando. Frontino was the steed of Bradamante's lover, Ruggiero.

238. This is the first reference in the first edition to the theft.

239. "According to this passage, the gray was lost with the lint and all; but
the lint was kept in the saddlebags which were left in the innkeeper's pos-
session-, that Gines stole the packsaddle along with the beast appears more likely
than the ad hoc explanation later given (Part II, Chapter iv), where it is related
that Gines stole only the ass, leaving Sancho seated upon the packsaddle suspended
on four stakes." (Translated rom Schevill's Spanish note.)

240. Sancho means, of course, redemption.

241. Freely for "caballero andante, o por andar."

242. Reference to the lay brothers who acted as servants in schools and con-
vents and who wore their hair cropped short but without the tonsure.

243. Reading of the first and second editions; the third edition has "twenty-
seventh of August."

244. The first three editions have Perseus; the edition of Brussels has Theseus.
Schevill prefers to leave the reading Perseus, believing that it may have been
in the original manuscript as the result of a mistake on the part of the author.



CHAPTER XXVI



245. The allusions here are to the Orlando Furioso: Medoro, however, was Dardinel's
page, not Agramante's (xvm, 166); and it was Ferrau, not Orlando (Roland), who
had the seven iron soles (xu, 48).

246. That is, in Italian, Orlando Furioso.

247. The second and third editions and the edition of Brussels have another read-
ing: "And for a rosary he made use of the galls of a cork tree, putting them
together to form a string of ten beads." This is the reading that Motteux and
some of the other translators have followed; Ormsby has the one given here.

248. The word play on "sobajada," "sobrehumana " (omitted in my rendering), and
"soberana" is in reality untranslatable.



CHAPTER XXVII



249. Wamba was a king of the Gothic line in the Iberian peninsula (672-680).

250. Galalon, previously mentioned (Chapter 1), was the traitor of Ronces-
valles.

251. Vellido (or Bellido) Dolfos was the murderer of Don Sancho, King of
Castile.

252. The story of Count Julian is well known (Southey has treated it in Eng-
lish). His betrayal of Spain to the Moors is related in an old ballad, "En
Ceupta esta Julian," which Lockhart has translated.

253. This, of course, is an old, old theme. Compare Vergil ( Aeneid, iv,
569): " varium et mutabile semper / femina or the popular grand opera
aria "La Donna e mobile." One thinks also of Francis I's saying: " Femme sou-
vent varie"

254. The colors crimson and white signified joy and happiness, and sometimes,
apparently, cruelty and innocence.

255. Part III ends here in the first edition.



CHAPTER XXVIII



256. The image is that of a ball of yarn being wound.

257. The montera was a cloth cap worn by peasants.

258. The adjective "ranch" literally means "rancid"; its secondary meaning is, an-
ything that has been kept for a long time--such as wine or bacon--and so has
acquired the flavor of age.

259. The hidalgo (literally, "son of a somebody") was a gentleman by birth, the
Caballero one by social position.

260. This saying was a commonplace among Spanish writers of the Golden Age. On
the effects of music in purifying the passions, Schevill suggests a comparison
with the section on music in Aristotle's Politics. And, of course, there is
Shakespeare's "Music hath charms ..."

261. The Motteux Version in this passage strays widely from the text.

262. It is not too clear to what Dorotea is referring.

263. The zagal was a shepherd or swain.



CHAPTER XXIX



264. The first three Spanish editions have: ". . . la buena suerte se vtuestra
en favor mio"--" is favoring me." The edition of Brussels and some modem ones
have "nuestro"--"is favoring us," in place of "mio"; but if "mio" is not cor-
rect, Schevill prefers the reading "vuestro"--"is favoring you," which is
the one that I have followed here. Ormsby has "in our favor"; Motteux, as
frequently, slurs the passage.

265. A variety of mantilla.

266. Needless to say, an imaginary kingdom.

267. The edition of Brussels and that of the Spanish Academy (1780) punctuate
the passage to read: "throughout the known parts of Guinea."

268. A palfrey ("su palafren") is usually a horse, commonly a saddle horse
for ladies, and Dorotea is mounted on a mule.

269. A proverb.

270. Literally, "Come, I am sucking my finger."

271. The reference is to Alcala de Henares, Cervantes' birthplace. Rodriguez
Marin: "The Zulema slope is a large hill to the southeast of Alcala de Henares,
on which was situated the Complutum of Ptolomeus." Complutum was the Latin
name of the town.

272. Ormsby substitutes the reading "three leagues." He remarks: "The orig-
inal says ‘two leagues,' but the context shows it must have been at least
thrice as far."

273. Bowle notes that this is reminiscent of a passage in La Angelica of Luis
Barahona de Soto, Canto vni: "La gran laguna Meotide"--"the great Meotides
Lake," etc. Clemencin identifies Lake Meotis as the "gulf of the Black Sea into
which the River Don or Tanais empties."

274. Two commentators, Clemencin and Hartzenbusch, point out that this would
be worse on the fly than on the honey. Hartzenbusch substitutes "the bear.



CHAPTER XXX



275. The author has not previously referred to this incident.

276. Proverbial expression denoting an impossibility or something beyond one's
reach: "pedir cotufas en el golfo."

277. The first edition reads "que se le vicne a las manos de vobis, vobis"; but
Schevill remarks that the Latin "vobis'' is out of place in Sancho's mouth and
that Cervantes doubtless wrote "bobilis, bobilis" (meaning "easily," "with-
out effort"), the mistake being one on the part of the compositor when the
passage was dictated to him. This is borne out by the fact that the phrase
"bobilis, bobilis" occurs later on, in Part II, Chapter lxxi.

278. The proverb runs: "The pitcher that goes to the well too often leaves
either its handle or its spout behind."

279. A proverb. The bracketed passage that follows is not found in the first edi-
tion but occurs in the second La Cuesta edition of 1605.

280. That is, Don Quixote and Sancho. The passage goes on from the point at
which the preceding one was introduced.



CHAPTER XXXI



281. A fanega is equivalent to 1.6 bushels.

282. As a token of reverence; the expression has occurred before.

283. A proverbial expression which the author has previously employed.

284. The sense is: "A good thing (gift) is good in any season." Ormsby
cites the Scottish proverb: "A Yule feast may be done at Pasch." Rodri-
guez Marin points out that sleeves were originally given as presents
and hence came to signify a gift.

285. Gypsy dealers were in the habit of putting quicksilver in the ears of a
beast tor sale, by way of quickening its pace.

286. Motteux gives the version: "A bird in hand is worth two in the bush."

287. Sancho misquotes the proverb, which runs: "He who has the good and
chooses the bad, let him not complain of the bad that comes to him."

288. See Chapter iv and note 4.

NOTES