Francesca Walmsley 1313569

Wherein lies the comedy of Don Quixote? Illustrate your answer with
close reference to Part One of the work.
The genre of chivalric romance is one that had great influence
on the image of the Middle Ages and after. Even now, due to the
popularity and far reach of these stories, there is a general
perception of the Middle Ages that is based on stereotypes and
some of the typical attributes of this genre. However, the genre
headed into decline throughout the 16th century and afterwards,
becoming unpopular and viewed as old-fashioned.1 Don Quixote, a
novel of which the first volume was published in 1605, came about
as a result of this decline. The author of the novel, Miguel de
Cervantes, intended it as a parody of the genre, and it has enjoyed
success during and even up until modern times. The story itself,
which concerns an insane man who believes he is a knight and
travels to find adventure with a simple squire, appears entertaining
from the start, however there are frequent examples where
Cervantes clearly intended humour in more oblique ways. However,
every reader and critic has a different interpretation of the novel,
and of the true meaning and purpose of the types of comedy within
it. There are today limitations in the reading of Don Quixote, due to
changes in language over time, and also over what constitutes
comedy or humour. The novel itself also has received a share of
criticism, for example: Don Quixote is a confused, ill constructed
work, full of blemishes and inconsistencies which Cervantes himself
was compelled to recognise.2 Despite this, the novel provides a
platform from which to view 17th Century society and the varying
opinions on chivalric romantic literature, however subtle in the novel
these opinions may be.

1 Eisenberg, Daniel. Romances of Chivalry in the Spanish Golden

Age. Newark, DE: Juan De La Cuesta, 1982 n.p.
2 Hilton, R. Four Centuries of Cervantes: The Historical Anatomy of a
Best-Selling Masterpiece Hispania Vol. 30, No. 3 (Aug., 1947), pp.
312

Francesca Walmsley 1313569

Don Quixote himself is a character that has opened itself up to

vastly different interpretations. An early indication of parody of
chivalric romance within the character himself is the way he differs
extremely from the typical knight. This leads him to appear
ridiculous at first, however he has increasingly been labelled as
deserving of sympathy in recent criticism. 3 The archetypal
protagonist of a chivalric romance would often be young, strong and
successful in his endeavours.4 Conversely, Don Quixote is a
character of about fifty, Frisaba la edad de nuestro hidalgo con los
cincuenta aos (pp.11), who shows frequent signs of
incompetence. Even at the beginning of the novel, it is shown how
he neglected his duties in favour of reading these chivalric
romances that the story seeks to parody, se daba a leer libros de
caballeras, con tanta aficin y gusto, que olvid casi de todo punto
el ejercicio de la caza, y aun la administracin de su hacienda.
(pp.11) From the outset, Cervantes invites his reader to pity Don
Quixote, belittling him with the use of words like pobre, Con estas
razones perda el pobre caballero el juicio (pp.11). While few
characters in the novel believe or admit that Don Quixote is a
knight, except in an effort to appease him, Cervantes here
introduces irony into the plot by referring to Don Quixote as a
caballero, which belittles the character in an effort to humour him.
Cervantes alternates humouring him with mocking him, que fuera
bastante a derretirle los sesos, si algunos tuviera (pp.14). The
reader is here notified that the narrator is not to be taken seriously,
and that Don Quixote is to be laughed at. On the other hand, the
potential for sympathy towards him is extended due to his
benevolent and well-intentioned nature, such as when he attempts
to stop the young boy being flogged by the farmer. Conversely,
Cervantes adds a comic element to everything Don Quixote does,
3 Fischelov, David. 12.2-3. Parody, Satire and Sympathy in Don
Quixote and Gulliver's Travels 1 12.2-3 (2002-3): Connotations.
4 Eisenberg, Daniel. Romances of Chivalry in the Spanish Golden
Age.

Francesca Walmsley 1313569

for example in fashioning his own helmet, being unable to take it off
and forced to remain in it while eating etc. se qued toda aquella
noche con la celada puesta (pp.15). Direct reference to the comedy
of the situation is made whence he is described as gracioso
(pp.15). This juxtaposition of sympathy and hilarity surrounding the
character himself creates ambiguity over whether the novel is solely
a comedy. However, satire and parody are often linked with
gullibility and naivety that leads to pity, sympathy does seem to
play an important role in many parodies and satires.5

The narrator is able to constantly contradict his own opinion

towards the character of Don Quixote due to a forced distance that
he maintains throughout the novel. Cervantes presents two authors
in the work: the first as, the Cid Hamete Benengeli, who he
maintains is the Arab historian who wrote the account of Don
Quixotes exploits, and the second as the discoverer of these, who
arranged for it to be translated and occasionally comments on it,
often speaking in first person throughout the story, for instance in
Chapter Nine, where he interrupts the story to provide his account
of finding and translating the tale.
The supposed discoverer of the story maintains that it is true by
using phrases such as En un lugar de la Mancha, de cuyo nombre
no quiero acordarme (pp.11). This is meant as a tongue-in-cheek
deception, for as Cervantes further misleads us to believe the novel
is not fictional, the reader learns increasingly not to take the
narrator seriously. Substituting authors throughout the novel is a
paradox that takes the form of metalepsis, which arises each time
an authorial substitute occurs.6 This occurs for example in Chapter
Nine, when the author interrupts speaks of his venture into finding
the rest of the story. This type of disorienting, paradoxical narrative
5 Fischelov, David. 12.2-3. Parody, Satire and Sympathy in Don
Quixote and Gulliver's Travels
6 Patrick, Brian D. Metalepsis and Paradoxical Narration in Don
Quixote: A Reconsideration. Letras Hispanicas 5.2 (2008) pp.123

Francesca Walmsley 1313569

appears to cross the boundaries between fiction and reality,

however as the talk of the venture is also fiction, it is debatable
whether it is a true metalepsis.7 Cervantes takes care to distance
himself ironically from the novel in using these two authors rather
than himself. In this way, he frees himself of blame of the story in
almost a false modest way. Y as, no poda inclinarme a creer que
tan gallarda historia hubiese quedado manca y estropeada; y
echaba la culpa a la malignidad del tiempo, devorador y consumidor
de todas las cosas, el cual, o la tena oculta o consumida. (pp.35).
This is a red-herring within the text, mocking the reader who looks
for seriousness.8 He furthers this by making himself an unseen
character that is supposedly friends with the character of the priest.
In a facetious manner, the priest describes the moderate success of
the book, as well as its limitations, Su libro tiene algo de buena
invencin; propone algo, y no concluye nada (pp.27). The authors
prologue allows himself to further detach himself from ownership
and responsibility for the novel, describing himself as the
padrastro (pp.3) of the novel, and humorously leading the reader
to believe it will not be a remarkable account, puedes decir de la
historia todo aquello que te pareciere, sin temor que te calunien por
el mal ni te premien por el bien que dijeres della (pp.3).

In this same prologue, the author further humorously misleads

the reader by asserting that he does not need embellishments,
sonnets or eulogies in the novel, sin el ornato de prlogo, ni de la
inumerabilidad y catlogo de los acostumbrados sonetos, epigramas
y elogios (pp.3). However, he contrarily uses a mixture of prose
and verse throughout the text, for example in quoting Feliciano de
7 Paz, G. Una lectura semitico-narratolgica del Quijote en el
contexto del Siglo de Oro espaol. Madrid/Frankfurt:
Iberoamericana/Vervuert, 2006. pp.42
8 Parr, James A. Don Quixote: A Touchstone for Literary Criticism.
Kassel: Edition Reichenberger, 2005 pp.34

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Silva, La razn de la sinrazn que a mi razn se hace, de tal

manera mi razn enflaquece, que con razn me quejo de la vuestra
fermosura. (pp.11), and also in order to parody sonnets, such as
those by Belianis de Grecia. This comprises an undoubtedly
important aspect of Don Quixotes comedic value: the frequent
allusion to the chivalric romance genre. This genre is the primary
target of parody in the novel and there are references, both subtle
and apparent, which make a mockery of it. Cervantes takes dozens
of stereotypical traits of romances and subverts them for humorous
effect. One example of this is Don Quixotes horse, who, similarly to
Don Quixote, is old and ill-equipped for the tasks he is undertaking.
Fue luego a ver su rocn, y, aunque tena ms cuartos que un real y
ms tachas que el caballo de Gonela le pareci que ni el Bucfalo
de Alejandro ni Babieca el del Cid con l se igualaban (pp.12). In
comparing Rosinante with Babieca, the horse from romances about
the Cid, Cervantes creates a direct association between the two,
and equally between Don Quixote and the Cid. Rosinante comes
from the word rocin, meaning nag, and this juxtaposition between
the nag, described as tan atenuado y flaco (pp.36) and the Cids
stallion, an example of a great warhorse from a classic romance,
accentuates the absurdity of Don Quixotes situation. It is Don
Quixotes insistence on emulating these romances that also brings
about amusing and unexpected situations, arising when views the
world as though it were the world of these romances. For instance,
when he arrives at an inn, he sees a castle, and addresses two
prostitutes outside it very formally altas doncellas como vuestras
presencias demuestran. (pp.14) creating an ironic juxtaposition
that he sees these women as highborn ladies. Furthermore,
Cervantes uses smaller stories within the plot to further criticise oldfashioned romances and indeed oral tradition. The story of Marcela
for example is told twice: once by the shepherd Pedro, and once in a
poem. Both of these present different sides to Marcela in reality,
which is a tactic of Cervantes, providing a criticism of oral tradition.

Francesca Walmsley 1313569

Cervantes does this as an act of modernism, and also debatably as

criticism of the genre. If excessive reading of chivalric romance
brings someone like Don Quixote to the point of losing his mind,
there must be something inherently wrong with the literature
itself.9

Parody, however, does not comprise the sole construct of the

humour that the novel entails. In his book, Don Quixote: A
Touchstone for Literary Criticism, J. Parr discusses how Menippean
satire forms the primary basis for humour within the novel.10 This
satire is formed with paradox, parody and irony forming markers
within it. Parody here is formed from the mockery of the chivalric
romance genre, and paradox from the metalepsis created by the
substitution of authors. Another example making up the theoretical
Menippean satire within the novel would be the frequent examples
of irony. Already mentioned is the authors appeasement of Don
Quixote, referring to him as invencible as an example of his
frequent humouring of him. There are also however instances of
dramatic irony. This can be seen in chapter sixteen with the incident
concerning Don Quixote, Maritornes the Asturian, and a carrier.
There occurs here a misunderstanding where Maritornes plans to
spend the night with the carrier, however Don Quixote assumes she
will spend the night with him. Despus de haber visitado el arriero
a su recua y ddole el segundo pienso, se tendi en sus enjalmas y
se dio a esperar a su puntualsima Maritornes. Ya estaba Sancho
bizmado y acostado, y, aunque procuraba dormir, no lo consenta el
dolor de sus costillas; y don Quijote, con el dolor de las suyas, tena
los ojos abiertos como liebre. (pp.59). This creates dramatic irony,
9 Fischelov, David. 12.2-3. Parody, Satire and Sympathy in Don
Quixote and Gulliver's Travels n.p.
10 Parr, James A. Don Quixote: A Touchstone for Literary Criticism.
Kassel: Edition Reichenberger, 2005 pp.290

Francesca Walmsley 1313569

as well as anticipation in the reader for the expected result of a

humorous situation. This could also be considered a further example
of metalepsis, with the authors announcement that the Cid Hamete
Benengeli mentioned the carrier, as he was supposedly a relation of
his. This concurrence of irony, paradoxes, parody and a targeting of
readers of chivalric romance all contribute to the impression of
Menippean satire. The effect of this is for Cervantes to question the
society that he, Don Quixote, and equally the reader of the time,
occupies, which results largely in the majority of the humour of the
piece.
Given the wide range of methods that Cervantes employs, it
cannot be refuted that Don Quixote entails many aspects of humour.
There is however disagreement over the final objective of Cervantes
to employ these types of humour, It became almost a crime to
treat it as a humorous book11. Nevertheless, it is irrefutable that
these various types and frequent use of comedy is what contributed
to Don Quixotes popularity upon release, and even today all around
the world. On a superficial level, the tale of Don Quixote provides
comic relief; an insane man leads his simple squire on adventures,
creating confusion and chaos in answer to their out-of-date beliefs
and theories on knighthood. The author is able to take the side of
the reader for the duration, humouring Don Quixotes exploits and
placing himself and the reader on a superior level to the characters.
Cervantes appears even at times to make a mockery of himself,
creating a character with similarities to himself, such as their similar
age, with the knowledge that he, Don Quixote and the genre of
chivalric romance are past their time. On a more complex level,
Cervantes employs the trio of paradox, parody and irony, which
combine to create a political satire and societal statement, making
the tale more complex and controversial than it first appears.
Though some would disagree that Cervantes had this controversial
11 De Cervantes, Miguel. Don Quixote.

Francesca Walmsley 1313569

statement in mind at the time of writing the novel, there can be

none who would disagree that the novel comprises humour in a way
that made it timeless, whether it be the most redeeming feature of
the novel or simply an enjoyable extra. I hope you find it deeply
amusing and truly compelling. If not, you can be certain the fault is
mine.12

12 De, Cervantes Saavedra Miguel, and Edith Grossman. Don

Quixote. New York: Ecco, 2005. pp. xx

Francesca Walmsley 1313569

Bibliography
Primary Sources
De Cervantes, Saavedra Miguel. El Ingenioso Hidalgo Don Quijote
De La Mancha. Edival: Alfredo Ortells
De Cervantes, Saavedra Miguel, and Edith Grossman. Don Quixote.
New York: Ecco, 2005
Secondary Sources
Britt-Arredondo, Christopher. Quixotism: The Imaginative Denial of
Spain's Loss of Empire. Albany: State U of New York, 2005
Eisenberg, Daniel. Romances of Chivalry in the Spanish Golden Age.
Newark, DE: Juan De La Cuesta, 1982
Feldman, Abraham. "The Quintessence of Comedy." The Classical
Journal43.7 (1948)pp. 389-393
Fine, Ruth. Una lectura semitico-narratolgica del Quijote en el
contexto del Siglo de Oro espaol. Madrid/Frankfurt:
Iberoamericana/Vervuert, 2006.
Fischelov, David. 12.2-3. Parody, Satire and Sympathy in Don
Quixote and Gulliver's Travels 1 12.2-3 (2002-3): Connotations.
Hilton, R. Four Centuries of Cervantes: The Historical Anatomy of a
Best-Selling Masterpiece Hispania Vol. 30, No. 3 (Aug., 1947), pp.
310-320
Parr, James A. Don Quixote: A Touchstone for Literary Criticism.
Kassel: Edition Reichenberger, 2005
Patrick, Brian D. Metalepsis and Paradoxical Narration in Don
Quixote: A Reconsideration. Letras Hispanicas 5.2 (2008)
Paulson, Ronald. Don Quixote in England: The Aesthetics of
Laughter. Baltimore: Johns Hopkins UP, 1998
Paz Gago, M. Una lectura semitico-narratolgica del Quijote en el
contexto del Siglo de Oro espaol. Madrid/Frankfurt:
Iberoamericana/Vervuert, 2006.