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to MLN
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Cervantes, Romantic Irony
and the Making of Reality
William Egginton
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M L N 1041
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1042 WILLIAM EGGINTON
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MLN 1043
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1044 WILLIAM EGGINTON
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M L N 1045
Schlegel on Irony
"reality" into the inner fastness of the self. Romantic irony is thus to be
identified, for better or for worse, with this outbreak of subjectivity, a
rebellious impulse on the part of the literary artist to rise above the
restrictions of reality. Irony provided an essential expression of the
Weltanschauung of the romantic temper.13
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1046 WILLIAM EGGINTON
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M L N 1047
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1048 WILLIAM EGGINTON
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M L N 1049
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1050 WILLIAM EGGINTON
Epistemological irony
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M L N 1051
essence of that new spirit. The three formulations of that concept that
we have derived imply a common, schematic structure: a frame
distinction in which "reality" appears as a representation that poten
tially includes the representer and the act of representation within its
diagetic space. In large part, Cervantes may be said to be the creator
of a new genre precisely insofar as he uses the medium of the written
word to develop techniques of self-referentiality to their paradoxica
extreme. Recall that what is at stake here is not "subjectivity" as it is
commonly understood. As many medievalists have argued, a stable
first person narrator figure is detectable in European writing from as
early as the 12th century.30 Rather, what is at stake is a technique that
projects the very act of literary creation into the literary world being
created, that short-circuits, in other words, a barrier dividing the
fictional and the real.
For my part I can say that when I read the tales of chivalry, as long as I avoid
thinking about the fact that they are all lies and frivolity, they give me some
enjoyment. But when I realize what they are, I throw the best of them
against the wall, and would even throw them into the fire if I had one close
by, which they richly deserve, as false and deceiving and outside of the
treatment required by common nature, and as inventors of new sects and
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1052 WILLIAM EGGINTON
For to wish to persuade someone that Amadis didn't exist, and that neither
did all the other adventuring knights of which the stories are filled, is to
wish to persuade that the sun doesn't shine and the ice doesn't freeze and
the earth doesn't sustain life; for what genius exists in the world who could
persuade us that there is no truth to that of princess Floripes and Guy de
Bergofia, or that of Fierabras and the bridge of Mantible, which happened
in Charlemagne's time, and which I swear is as true as right now is daytime.
(QI, 568)33
fictitious. The space opened when one forgets to apply this standa
is the fictional.
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M L N 1053
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1054 WILLIAM EGGINTON
A - V[F]
or "an agent keys the fictitious with regard to the verisimilar," then
secondary keying would take on the following schematic form:
A - R[ A - V{F}]
or, "an agent keys with regard to reality some fictional space, in which
an agent is keying the fictitious with regard to the verisimilar." If we
read the first agent as any reader of Cervantes's novel, the second
agent then becomes that reader's representative within the space of
the novel-one or the other interlocutor locked in heated battle over
the value of chivalric romance (and who, as the case may be, is getting
it all wrong). Therefore, unlike the at times purely fantastic realm
the fictitious, what occurs in the fictional could also occur in realit
The space of the fictional, in other words, is viable, is a world in which
a reader can imagine him or herself participating. The self-reflexiv
short-circuit between the agent of the primary keying and the agen
of the secondary keying is, therefore, a necessary constituent of th
new distinction between reality and fictionality, and it is this tech
nique of short-circuiting that represents the fundamental innovatio
of Cervantes' fiction.
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M LN 1055
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1056 WILLIAM EGGINTON
The logic of this dispute is thus: "we see the same thing
disagree as to its nature, as defined by its origins," which
satisfy Sancho, especially given that he has taken advantag
adventure to exchange his old packsaddle for the barber's n
But Sancho's opportunism comes back to haunt him w
same barber later recognizes him and his packsaddle an
Sancho and Quijote of theft. While fighting over the packs
barber announces to all present that Quijote and Sancho had
from him by force at the same time that they took his bras
basin. At this point Quijote intervenes, claiming that the
mistaking a magic helmet for a barber's basin only proves that
error about anything else he is claiming:
So that your graces see clearly and manifestly the error in which
squire has fallen, well, he calls basin what was, is, and will eve
helmet of Mambrino, which I took from him in a good fight, and
I made myself the master with legitimate and licit possession. A
question of the packsaddle, I'm not going to get into that; what I w
that my squire Sancho asked my permission to take the trappings
horse of this defeated coward, with which to adorn his; I gave it to
he took them, and if they have turned from trappings into a pack
only explanation is the usual one: that such transformations are
in the events of chivalry; for the confirmation of which, run, S
son, and bring out the helmet that this man claims is a basin. (Q
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M L N 1057
Sir barber, or whoever you are, know that I am also of your profession, an
I have been for more than twenty years and have a certificate of examin
tion, and I know very well all the instruments of barbery, without missin
one; and not more or less was I in my youth a soldier, and I also know wha
a helmet is, and a morion, and a headpiece with a visor, and some oth
things about soldiering, I mean, about the weapons of a soldier; and I say
excepting better judgement and subjecting myself to better understand
ing, that this piece before us and which this man has in his hands not only
is not a barber's basin, but is as far from being one as white is from bla
and truth from a lie. (Q I, 529-30)41
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1058 WILLIAM EGGINTON
about reality in the other and compare the two to see if they m
It is precisely this world-view that Cervantes is busy constructi
In this light, the transition between the novel of 1605 and that of
1615 can be seen as one between a world in which we the readers
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M L N 1059
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1060 WILLIAM EGGINTON
A - R[ A -+ V{F}]
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M L N 1061
I say then, now-said Sancho-that of this man that part that swore the
truth shall be allowed to pass, and that part that spoke a lie shall be hung,
and in this way the condition of passage will be met to the letter.
But sir governor-replied the petitioner-it will be necessary that the
said man be divided in parts, in truth telling and lying parts, and if he's
divided, he must per force die, and in this way what the law asks is not
satisfied, and yet we must satisfy the law. (Q II, 410-11)51
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1062 WILLIAM EGGINTON
Back to Hegel
At the outset of this paper, I argued that Hegel had, in his Aesthetics,
misconstrued romantic irony, attributing it to an expression o
unbridled subjectivism inspired by Fichtean idealism. In this final se
tion, I claim that, whereas Hegel might have condemned his own
idiosyncratic interpretation of the Schlegelian notion, another no
tion of irony-narrativized by Cervantes and theorized by Schegel-i
everywhere present in Hegel's system.
In order to demonstrate this, it will be necessary to briefly rehearse
Hegel's historical argument and the position Cervantes and irony
hold in it. For Hegel, art, like religion and philosophy, is one of th
ways in which spirit manifests itself in the world, one of the ways spirit
moves along its historical path toward absolute self-consciousness.
Art, however, is a lesser manifestation than either religion or philoso-
phy, because art, although through and through spiritual, neverthe
less depends upon the sensual world for its expression. In the tim
that Hegel is lecturing to his students, art-or better, the period i
which art was the primary manifestation of spirit-has come to an
end:
Our present is not favorable to art because our culture has become
reflective, it has abstracted the objects of will and judgment into
general principles, duties, rights and laws, and these abstractions
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M L N 1063
form the basis of social life, i.e., the life of spirit. But art does no
function in such an environment, because art belongs to a time or
culture in which spirit has not yet learned to abstract itself from t
living world. Art shows us the way in a time and culture when spir
has not learned how to simply say what it means in words, and wh
individuals are not capable of abstracting themselves from the
physical environments and conceiving of themselves as the ide
denizens of a universal state.
Romantic art was, for Hegel, the last step in art's trajectory. It was
an historical form invented in the high Middle Ages, and character-
ized by the turn to inwardness one finds in the ideologies of chivalry.
The three pillars of chivalry-honor, fidelity, love-perform in artistic
expression the newly found principle of infinite subjectivity: honor
constitutes the insertion of the entire individual into the substance of
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1064 WILLIAM EGGINTON
NOTES
5 I use this compound to distinguish from other scholars, myself included, who are
just as concerned with historicizing their readings, but who do so without
attaching much importance to the notion of authorial intent.
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MLN 1065
8 ". .. insofern die Prinzipien dieser Philosophie auf die Kunst angewandet
wurden."
9 "Was nun den naheren Zusammenhang Fichtescher Satze mit der einen Richtung
der Ironie angeht, so brauchen wir in dieser Beziehung nur den folgenden Punkt
herauszuheben: dass Fichte zum absoluten Prinzip alles Wissens, aller Vernunft
und Erkenntnis das Ich feststellt, und zwar das durchaus abstrakt und formell
bleibende Ich."
10 "an und fur sich sondern nur als durch die Subjektivitat des Ich hervorgebrach
11 "Diese Ironie hat Herr Friedrich von Schlegel erfunden, und viele andere hab
sie nachgeschwatzt oder schwatzen sie von neuem wieder nach."
12 Dilwyn Knox, Ironia: Medieval and Renaissance Ideas on Irony (New York: EJ. Bril
1988), 149.
13 Charles I. Glicksberg, The Ironic Vision in Modern Literature (The Hague: Martinu
Nijhoff, 1969), 5.
14 For what follows on Schegel and irony, the clearest and most exhaustive study
Ingrid Strohschneider-Kohrs' Die romantische Ironie in Theorie und Gestaltu
(Tiubingen: Max Niemeyer Verlag, 1977), henceforth abbreviated to 'Romantisc
Ironie.' I am largely in her debt for my understanding of Schlegel's conception o
irony.
15 Schlegel uses the Greek word to mean something between demonstration and
indication. In English it survives only as the adjective "epideictic," or demonstra-
tive, designed primarily for rhetorical effect.
16 This opposition also dominated the romantics' interpretations of Don Quijote. See
J.-J. A. Bertrand, Cervantes et le romantisme Allemand (Paris: Librairie Felix Alcan,
1914), 131; henceforth abbreviated to 'Bertrand.' See also Lienhard Bergel,
"Cervantes in Germany" in Angel Flores and MJ. Bernadete, eds., Cervantes Across
the Centuries (NewYork: Dryden Press, 1947), 322: "For Schelling, Don Quijote was
a mythical saga symbolizing the inevitable struggle between the ideal and the real,
a conflict typical of our world, which has lost the identity between the two."
Although there is no citation, he is probably quoting from Schelling's Philosophie
der Kunst.
18 Quoted in Strohschneider-Kohrs 22. "... die freyeste aller Licenzen, denn durch
sie setzt man sich uber sich selbst weg; und doch auch die gesetzlichste, denn sie
ist unbedingt nothwendig."
19 ". .. der Begriff fur sich selbst, der denkende Geist, sich nun auch seinerseits in
der Philosophie tiefer erkannte und damit auch das Wesen der Kunst auf eine
griindlichere Weise zu nehmen unmittelbar veranlasst ward."
20 Schlegel, "Athenaums-Fragment 116" in Kritische Schriften, ed. Wolfdietrich Raschm
(Munich: Carl Hanser Verlag, 1964), 39: "Und doch kann auch sie [die Ironie]
am meisten zwischen dem Dargestellten und dem Darstellenden, frei von allem
realen und idealen Interesse auf den Flugeln der poetischen Reflexion in der
Mitte schweben, diese Reflexion immer wieder potenzieren und wie in einer
endlosen Reihe von Spiegeln vervielfachen."
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1066 WILLIAM EGGINTON
21 See William Egginton, How the World Became a Stage: Presence, Theatrical
Question of Modernity (Albany: SUNY Press, 2002), especially chapter 3.
22 Schlegel, Schriften und Fragmenten aus den Werken und dem handschriftlich
zusammengestellt und eingel (Stuttgart: E. Behler, 1956), quoted in Romantisc
66: "Ironie ist gleichsam die Epideixis der Unendlichkeit."
23 Hegel, Hegel's Logic, trans. William Wallace (Oxford: Oxford UP, 1975
24 ". .. die Tendenz nach einem tiefen unendlichen Sinn."
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M LN 1067
41 "Senor barbero, o quien sois, sabed que yo tambi6n soy de vuestro oficio, y ten
mas ha de viente afos carta de examen, y conozco muy bien de todos los
instrumentos de la barberia, sin que le falte uno; y ni mas ni menos fui un tiempo
en mi mocedad soldado, y s6 tambien que es yelmo, y que es morrion, y celada d
encaje, y otras cosas tocantes a la milicia, digo, a los generos de armas de lo
soldados; y digo, salvo mejor parecer, remitiendome siempre al mejor entendi
miento, que esta pieza que esta aqui delante y que este buen senor tiene en l
manos, no solo no es bacia de barbero, pero esta tan lejos de serlo, como esta lej
lo blanco de lo negro y la verdad de la mentira."
42 With this statement I am not necessarily siding with the "realist" reading of D
Quijote as advanced by Spitzer in his influencial "perspectivism" essay. The poin
is rather that with Cervantes "reality" first becomes something about which on
can take "realist" or "anti-realist" positions. I therefore am still in complet
agreement with Resina's characterization of Cervantes's world as one "withou
ontological guarantee" (229). Where the ontological is guaranteed, reality is no
an issue. See also Jos6-Antonio Maravall, Utopia and Counterutopia in the "Quixote
trans. Robert W. Felkel (Detroit, Mich., Wayne State UP, 1991), 126-30, fo
further arguments concerning reality and its transmutations.
43 Rorty would not agree with the use of "world-view," because the whole point of h
argument is that the notion of differing world-views, or conceptual schem
through which we interpret the world, is misleading. For this argument see h
essay, "The World Well Lost," in his Consequences of Pragmatism (Minneapoli
University of Minnesota Press, 1982), 3-18.
44 The "epistemological world-view" corresponds, of course, to the rise of skepticism
in western intellectual life. As Robbins argues, Spain was at the forefront of this
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1068 WILLIAM EGGINTON
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