4 Relevance of the Marginal

and Irrelevance of the Explicit in the Game of the Transmission of History in Don Quixote

Santiago López Navia University of S. E. K. (Segovia, Spain)

l. Tbe reader's pact: "knowing" and "pretending to know"

"These were the verses that could be read; in the others, the writing was worm eaten, and they were given to an academician to be deciphered". With these words from the last chapter of the Quijote of 1605 1

, which refer to the "Castilian verses" contained in fue lead box in a hermitage, the tension between the two forces that intervene in the reading of the work finally ends: what can be c1early read and what can be "affirmed through conjectures". There is an important difference between the cornmon reader and the "informed reader" starting from the time when the second one likes to "affirm through conjectures", the conjectures latter are much stronger than certainties in a text like Quixote, but both are linked in an inevitable pact with the work: to understand it, one has to "know", but above all "one has to pretend to know".

1 Cervantes, Quixote, 1, 52. AH our references from the text will have Roman numbers to refer to the parts of the work and Arabic letters to refer to the chapters. Due to the obvious nature of the reference, and to have fewer footnotes, the work will not be cited in the notes froro 11 till 25.

We know that Cervantes wrote a book in which the

adventures of Don Quixote of La Mancha have been narrated; and

that these adventures are spread out over two parts that are

complementary but equally significant and interesting in

themselves; with a structure and use of technique that become

clearer with the attendant circumstances of writing - especially the

idea of the consciousness of one's own creation and the

vicissitudes that affect the author and his work. And we know what

we know because we have adrnitted to "pretending to know" that

the history that we are reading has been written by Cide Hamete

Benengeli, and that its transrnission is subject to a play of voices

that continually awaken the reader's suspicions. We pretend to

know that what we are reading is not only what Benengeli has

written but what others have said on what Benengeli has written.

We pretend to know that the narrative voices can intervene in the

intended literality of the original, making clear that its transmission

through paraphrasing Chapter 1, 9 is full of stumbling blocks. We

pretend to know that the very first author is the first in showing his

reservations about what he writes ... We pretend, finally, to accept

the obscure features of the writing of a work if they are attributable

to Cervantes and also if it is just the result of not being able to

control all the mechanisms of a work always surprising in its

complexity.

In this readerly pact, even more serious and comprornised

in the case of "an informed reader", there are also other inferences

that affect the play of transmission of the text. The informed reader,

the one who attempts a profound reading, pretends to know, for

example, that during his penance in the Sierra Morena, Don

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Quixote wrote many more stanzas, "but the only ones that were

found complete and that could be read after they were discovered,,2,

and during Camacho' s wedding many more verses were recited

because the only ones that have come down to us are those that

Don Quixote "could retain in his memory,,3 and that, returning to

the context in which the lines that. begin this Introduction are

inserted, the lead chest found in the hermitage contained many

more verses, because those of the academicians of Argamasilla are

only those that "could be read and noted down".

In this work I propose to study sorne of the contexts that

form part of the ludiel spontaneous framework of the history of the

Quixote, that help us to reflect on the rneaning of things reflected

in the rnargins which can be relevant, and that which is at times

explicit can be playfully irrelevant. We do so conscious that we

have to "affirm through conjectures", whereever possible, in all

those cases where we are not satisfied with "reading". W e are

accustorned to accepting that the study of the problems in the text

of Quixote is more capable of posing questions than of revealing

any answers, much less definitive answers

2. "Written in the margins": when the marginal can be relevant4

2.1. A detall written in the margins and incorporated into the textual surface: the discovery of the manuscript in ChapterI,9

2 Cervantes, Quijote, 1, 26. 3 Cervantes, Quijote, 11, 20. 4 See López Navia, 1999 a. We are trying to develop here one of the

observations that we had pointed out briefly in Part 5 of this work.

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In the narrative transítion that occurs in the first paragraphs

of Chapters 1, 9, the narrator second author, who now expresses

himself in the first person, literally transcribes the explanations that

the translator provides for why the recently found manuscript in

the Alcaná de Toledo makes him laugh. He later makes clear other

details of the notebook which are important to keep in mind for our

work:

-As 1 have said, here in the margin is written:

"This Dulcinea of Toboso, referred to so onen in this

history, they say had the best hand for salting pork of

any woman in all of La Mancha".

When I heard him say "Dulcinea of Toboso", 1 was

astounded and filled with anticipation, for it occurred to me that

those volumes contained the history of Don Quixote. With this

thought in mind, I urged him to read the beginning which he did,

extemporizing a translation of the Arabic into Castilian, and saying

that it said: History of Don Quixote de la Mancha, written by Cide

Hamete Benengeli,an Arab historian ( ... )

In the first notebook there was a very realistic depiction of

the batde of Don Quixote and the Basque C .. ) At the mule's feet

there was a caption that read: Don Sancho de Azpeitia, whích, no

doubt, was the Basque' s name, and at the feet of Rocinante there

was another that said: Don Quixote. Rocinante was wonderfully

depicted, so long and lank, so skinny and lean, with so prominent a

backbone, and an appearance so obviously consumptive, that it was

clear with what foresight and accuracy he had been given the name

Rocinante. Next to him was Sancho Panza, holding the halter of his

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donkey, and at its feet was another caption that said: Sancho

Zancas, and as the picture showed he must have had a big belIy,

short stature and long shanks, and for this reason he was given the

name of Panza as well as Zancas, for from time to time the history

caIls him by both these sumames. A few other details were worthy

of notice, but they are of liUle importance and relevance to the true

account of this history for no history is bad if it is true.

The first observation is that the narrator-second author

incorporates into the textual surface of the story a detail written on

the margins of the manuscript of the same story. An element of the

deep structure ofthe story, in keeping with the play of transmission,

now forros a part, through the narrator, not what the translator

reads on the margin of the text but what the reader reads in the text

itself, and thus a detail is incorporated in the story that initially did

not forro a part of it in strictIy textual terroso The reader

consequently does not arrive in this game at the culmination of the

story's transmission but instead finds the circumstances of its ludie

architecture and gets to know a major fact about a character as

fundamental as Dulcinea of Toboso, about whom, we know all that

we know thanks to what Sancho says in Chapter 1, 25. Until the

moment when Sancho Panza recognizes that Aldonza Lorenzo is

the real Dulcinea of Toboso and gives the reader a coarse

description free of all idealism, and before the significant

information, which we are analyzing at present is uncovered "in

the written margin", we only know through the narrator, in Chapter

1, 1, that Dulcinea is the name chosen by Don Quixote for "a very

attractive peasant girl". To all this we must add the fact that all we

know of Dulcinea from what is said of her, never due to what she

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herself says5. It is not for nothing that the annotation at the margin

makes clear that which is "referred to so often in this history".

A1though, it is due to him that we arrive at this new fact

about Dulcinea of Toboso, the source of information is not the

voice of the narrator but a note written on the margins, the origin

of which it is not easy to deduce. Obviously, and unlike the many

times that he intervenes in the text, the author of this note is not the

translator who is the first to read it, and neither is it the narrator­

second author, who informs the reader about this. Is it a marginal

annotation of Cide Hamete Benengeli, or does it reflect the

intervention of the undefined sources which are so important in the

complex use of resources of pseudo historicity in the Quijote?

Nothing leads us to infallible answers. What is very clear is that the

author of the annotation takes the undefined sources into account

unequivocalIy represented in the recurring "they say .. 6, and that its

content is useful in delimiting the character in the facets of his real

social dimension, distant -parodically distant- from the idealized

reinvention of the protagonist. The combination of the fact written

on the margins with undefined sources achieves cIear results in the

play of the transmission and the construction of the history: a faet

of unmitigated realism about a major eharacter in the history, who

does not belong to the same history in its origins and if this were

not enough, is attributable to an undefined source the compiler of

which, conjeetures aside, is unknown to uso

5 The dialogic autonorny of Dulcinea del Toboso begins with Avellaneda's Quijote. See López Navia, 1999 b.

6 For this concept and for tbis fonnula see López Navia, 1998.

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Nor do we know anything about the author of the drawings

of the first manuscript. Besides, the presence of the drawings is

singularly exceptional in the entire work, and there isn't, any other

reference to drawings by the characters, so that those that are now

described can also be considered in a certain sen se, marginal.

Thanks only to the annotations -of whom?- that complement these

drawings we get to know the name of the Basque, unknown to us

till now, and thanks only to these annotations we know that Sancho

Panza now appears with the nicknarne "Sancho Zancas", the

meaning of which is explained to us ("for from time to time the

history callS him by both these sumames"). And this is crucial:

What history? We will never again read this sumame, that appears

outside the history and that the narrator-second author, who is the

one who describes the drawings and takes note of the annotations

that explain them, refers to precisely in the same history. If we do

not take note, beyond the fact that appears at the bottom of the

drawing, of the sumame "Zancas" neither before nor after the

description of the drawings of the first manuscript, what do we

believe? It can be said that the fact is not significant, as it is an

isolated fact. It can be supposed that, conceding a certain conscious

perfection to the elaboration of the game, these fragments of the

history where Sancho is calIed with the two sumames has been lost

or removed by the voices in the narration. Perhaps, the least forced

interpretation could be that the incoherence between this fact and

its non-existent reflection in the history, despite the narrator' s

explanations is a new indication of the lack of control that

Cervantes occasionalIy demonstrates over his own work.

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Nevertheless, when we read that "a few other details were

worthy of notice but they are of HUle importance to the true

account of this history", what is clear is that the second author is

the one who selects all the facts -drawings or names- of the

history, be they "details" or not, that affect "the true account of this

history". And if sorne have been ignored following this criterion,

are we to understand that the earlier ones are more important and

affect this "true account"? The answer is irrelevant: or not

important, or not possible.

2.2. The doubts of Cide Hamete Benengeli, expressed in the margins

We now concentrate on the study of the beginning of Chapter n, 24, one of those chapters whose title appears significant in the light of the criterion that we will discuss later:

The man who translated this grand history from the original composed by its first author Cide Hamete Benengeli, says that when he reached the chapter concerning the adventure of the Cave of Montesinos, he found in the margin written in Hamete's own hand, these precise words:

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1 cannot believe nor can 1 persuade myself, that

everything written in the preceding chapter actual1y

happened in its entirety to the valiant Don Quixote: the

reason is that all the adventures up to this point have

been possible and plausible, but with regard to this one

in the cave; 1 can find no way to consider it true since it

goes so far beyond the limits of reason. But it is not

possible for me to think that Don Quixote, the truest

and most noble knight of his day, would He, for he

would not tell a lie even if he were shot with arrows.

Relevance

Moreover he recounted and told it in all its details, and

in so short a time he could not fabricate so enormous a

quantity of nonsense; if this adventure seems apocryphal, the fault is not mine, and so, without

affirming either its falsity or ¡ts truth 1 write it down,

you reader, since you are a disceming person, must

judge it accordíng to your own lights, for 1 must not and

cannot do more, yet it is considered true that at the time

of Don Quixote's passing and death' he is said to have

retracted it saying he had invented it because he thought

it was consonant and compatible with the adventures he

had read in his histories.

It is not the first time that we are reflecting on this

fragment but we will pause now on the details that affect the

framework of the textual architecture. To begin with, it is very

evident that in these two paragraphs the reader is not reading the

history but the circumstances of the metahistory that form part of the textual surface. The second author-narrator tells us that the translator says that Cide Hamete Benengeli writes on the margin of what is later literally transcribed, once translated. The reader again

gets access to the two main dimensions of the history in play in the construction of the Quixote: the "original history" written by

Benengeli, in which the adventures of Don Quixote and Sancho Panza have been recounted, and the "history of history", in which

there are details not only of the circumstances of the discovery, the

translation and transmission of the "original history", but also the

critical opinions of the difierent voices of the narration about what they recount and translate. The infonned reader knows that the

text' s surface. the sum of the "original history" that the first author

writes and the "history of the history" that the second author

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narrates, has been written by Cervantes. But he also has to admit to pretending to know that the scheme of the textual architecture, the resource of the deep structure of the history, is the result of the many times contradictory - playfully contradictory-voices of the narration.

Having said this, when the narrator tells us that Cide Hamete wrote the notes on the margins, he makes clear to us that this happened on "reaching the chapter of the adventure of the Cave of Montesinos". Nevertheless, this adventure does not happen in Chapter n, 24, in which we read the fragment that now interests us, but in Chapter n, 23. Let us understand this clearly: we are reading in Chapter II, 24 the "reasons" that formed part we repeat- of the "chapter of the adventure of the cave of Montesinos", which is the earlier one. From this what follows is that the organization of the chapters of the translated text that the narrator recounts to us does not coincide with the organization of the chapters of the original history and this is independent of whether or not Cervantes might have tried to induce us to arrive at this conclusion. It is not possible to k:now whether Cervantes has consciously controlled this part of the game, but the very game points us to this kind of reading. In the same way, the textual expression of this game leads us to suppose that it is not Cide Hamete Benengeli who has named the chapters, because this contradicts a title like that of Chapter II, 28 ("Regarding matters that Benengeli says will be k:nown to the reader if he reads with attention"). From now onwards and with the same prudence as on other occasions we are not in a positíon to affirm if he has defined all the angles of his own use of resources or if these effects which to us seem clear are imposed independentiy of the will control of their creator.

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What is clear is that what is at the margins gets incorporated to the textual surface and ha.<; been written precisely by the same Benengeli, in contrast to the earlier studied annotation at the margin of Chapter 1,9, where we lacked the references of the voices of the narration that now do not leave room for any doubt. The only common reference from the side of the narrator is with respect to the translator, who in both cases puts the annotation at the margino As regards the rest, what is contained in the margins is a fact of obvious relevance as it is the doubts of the first author about the truth of what the protagonist says about his descent into the Cave of Montesinos. We have analysed to what extent this intervention of Benengeli signifies a spontaneous rupture of the omniscience that can be attributed to someone who is continuously presented to us as a "wise historian,,7. Now we can add that the fact of suggesting the falsity of this adventure validated by Don Quixote of "the time of his passing and death" means a new rupture of omniscience, because Cide Hamete ought to know with the authority that is attributed to him "what is true and what not", It is a fact that this same Cide Hamete, whose voice is again heard or read literally at the end of Chapter 11, 74, after the death of Don Quixote, again depends al the beginning of Chapter 11, 24 on the testimony of undefined sources, represented once again by the recognizable "they say" which was also manifested in the annotation of the margin of Chapter 1, 9, in which as now, the content of the annotation is literalIy transcribed, away from the paraphrase of the narrator-second author- It is also the case that this same Cide Hamete who does not know what to now decide about the truth of the adventure narrated by the protagonist of the original history, and by extension about the credibility of the protagonist, is the same author of the history in which Don Quixote

7 In the same work cited in the earlíer footnote.

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and Sancho Panza suscribe to a quid pro quo that seals one of the strongest (and most perverse) bonds that two persons can subscribe to: the admission of being accomplices in a lie, as can be read at the end of Chapter n, 41, after Sancho invents the yarn of his t1ight on the shoulders of Clavileño:

Sancho, just as you want people to believe what you have seen in the sky, 1 want you to believe what I saw in the cave of Montesinos. And that is all 1 have to sayo

It looks like being too complex and elaborate for it not to be casual. Frank1y, taking on the risk of being wrong, and in spite of his control being strengthened in the Quixote of 1615, We don't think that all these ingredients define a style oí writing deliberately designed by Cervantes. Purposly chosen íramework perhaps imposes itselí much beyond the control oí its creator.

3. When the explicit could be playfuUy irrelevant: the , tilles of a few chapters

We will focus now on the tides of a few chapters oí the Quixote whose content is partly or totally lacking in relevant information, but this does not at the very least mean that they are less important8 in relation to the literary universe that they refer to as well as the construction of the work.

According to its structure, the titles that interest us can be bi-member or uni member. In the bi-member titles we recognize one part that affects the main part oí the chapter and another of a

8 The complete list of titles examined in this part of our work are detailed in the "Appendix", which we refer too

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general and undefined character. This second element is mainly introduced with the preposition with 9 and, to a lesser degree through the copulative conjunction andlO

• Despite the fact that it is not easy to wager a convincing and maybe unnecessary explanation on the fact that tbis kind of bi -member titles appear from Chapter 1, 8, in which the first adventure by the protagonist pair is shared, it is very significant that the titles of the unimember structure, as we will see later, occur exclusively in the Quijote of 1615 as evidence of the consciousness and control that Cervantes demonstrates about his own work. As we will note further on, these uni-member structure titles are the ones we think the most representative of the intention of the author.

As to the composition of its elements, the second part of

the titles of bi-member structure is based on key words of little

semantic value in their immediate contexto A first sub group of

titles place the undefined weight of their second member on the

key word "happenings"ll and on words that are semantically close

like "adventures" 12 (a word of special value, as we know, in

knightly literature), "occurrences" 13, and "events" 14. A second

subgroup equally representative for the number of titles it

comprises deploys its second member around the key word

91,8; 1,13; 1,14; 1, 18; 1,19; 1, 21; 1, 27; 1, 30; 1, 31; 1, 36; 1, 37; 1, 43; 1, 47; 1, 48; 1, 50; 11, 2; 11, 4; 11, 7; n, 18; n, 21; 11, 26; 11, 32; n, 35; n, 42; 11,48; 11, 51; 11,61; 11, 62; 11, 67 Y 11, 73.

!O 1, 42: 1,45; 11, 5; 11, 10; 11, 55 Y 11, 65. 11 1,8; 1,13; 1,14; 1, 31; 1,36; 1, 47; n, 2; n, 4; 11, 5; n, 7; 11, 10; 11, 21; n,

32; n, 35; 11, 51; 11, 67 Y 11, 73. 121, 18, 1, 37 Y "adventures that happened" (1, 45). 131,43. 141, 19 Y 11, 48.

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"things"15. We note that apart from the earlier two subgroups, the

title of Chapter n, 62, on whose second member the key word is

"foolishnesses", is a little more value laden without it being

undefined.

The composition of the titles with uni-member structure

get their value from their imprecise content l6, when not clearly

tautological 17 or in an imprecise and tautologícal time 18. On the

other hand, in almost a11, a key simílarly imprecise word can be

noticed like, "things,,19 or, in a particular case, "trifles,,20.

In the titles with bi-member structure as well as those with

uni-member structure one has to make evident the connotative

mechanisms at the service of the key word, which almost always

clearly impart ironic or absurd value. The eonnotative se heme

eonsists of adjectives, either alone (before or after), or multiple or

eomplemented21, and on a lesser scale and only in the Quijote of

15 1, 21 ("other things", a1so semantically equivalent thus to, "happenings"); 1, 27; 1, 30; 1, 42; 1, 48; n, 18; n, 26; 11, 42; 11, 55 (where the word "things" is expressed in the fust part of the title and is well understood in the second); 11, 61 (where the word "things" can be easily over understood in the second part of the title inspite of not being well understood in the first).

1611, 24 Y 11, 31 17 n, 9 y las parejas de títulos de evidente relación 11, 28-11, 66 Y 11, 40-11,

54. 18 n, 70. 19 n, 28; n, 31; n, 40; n, 44 y 11, 70. 20 Il, 24. 21 1,8; 1, 14; 1, 18; 1, 19; J, 21; 1, 27; 1, 36; 1,37; 1, 42; 1, 43; J, 45; 1, 47; 1,

48; JI, 2; 11, 4; 11, 5; n, 7; 11,10; n, 18; n, 21; 11, 24; n, 26; JI, 31; n, 32; n, 33; n, 35; n, 42; n, 48; 11, 51; n, 54; n, 55; n, 67 y n, 70.

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1615, in subordinate adjective propositions or relative ones22• In

sorne cases name complements areused23•

Thus, as the parodie intention of Cervantes is so clear, it is

worthwhile remembering that this aspect of the composition of the

work is part of a literary pattem which can be retraced to

chivalresque literature as well as Golden Age literature before and

after the Quixote. lf we take a few examples from the first group,

in Garci Rodríguez de Montalvo's Amadís of Gaul (1508) we find

a few chapters in which the second part has imprecise references to

indeterminate happenings or events, while the basic content has

been laid out in the first part of the chapter. 24• There are many

more examples in Diego Ortúñez de Calahorra' s Espejo de

príncipes y caballeros (1555) 25, and the same can be said of

Francisco Barahona's Flor de caballerías (1599)26. As concems

22 II, 28; 1I, 40; I1, 61; 1I, 62 Y II, 73. 23 1,30. 24This is the case with Chapter 1, 21 ("Cómo don Galaor llegó a un

monasterio muy llagado y estuvo allí quince días, en fin de los cuales fue sano, y lo que después le sucedió") y 11, 59 ("De cómo el rey Cildadán y don Galaor fueron llevados para curar y fueron puestos el uno en una fuerte torre de mar cercada, el otro en un vergel de altas paredes y de vergas de hierro adornado, donde cada uno de ellos en sí tomado, pensó de estar en prisión, no sabiendo por quién allí eran traídos y de lo que más les avino").

25 Among many other examples and sticking only to the first book not in order to make an exhaustive list, we note the title of Chapter 1, 2 ("Cómo el rey de Hungría, pretendiendo tener derecho al imperio griego, se levantó contra el emperador Trebacio, y con lo que más avino"), or that of Chapter 1, 27 ("Cómo la princesa Briana descubrió a Rosicler el secreto de como era su hijo, con Lo que más pasó").

26Continuing with the fírst book for the same reason and by way of example, we find this structure in Chapters 1, 8 ("Cómo los emperadores entraron en Constantinopla y del nacimiento del príncipe

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the narrative of the Golden Age published after Quixote, this kind

of imprecise titles of the second part, in those where the first part is

not much more definite, is significantly represented in the second

book of Quevedo' s Buscón (1626)27.

The great síngularity that characterizes the elaboratíon of

the tides that we have studied in the Quixote is the facetious

intention that motivates Cervantes. They form, especially the

second part, links and continuity between chapters whose main

value is precisely that of pretending not to have value, because

their imprecision is not an error of formulation, but completely the

opposite: a good choice. As we said earlier, it is not just a

coincidence that the most significantly humourous tides are

concentrated in the second part of the novel, in which the

metaliterary accomplishment is better designed from the in volved

consciousness of writing. It is enough to pause especially on the

title of Part ll, 24 ("In which a thousand trifles are recounted, as

írrelevant as they are necessary to a true understanding of this great

hístory"), the construction of which is an example of paradoxical

play: by definition the trifles, by their very lack of substance and

interest, cannot be of any use for the real understanding of any

Belinflor y lo que más sucedió"), 1, 11 ("Cómo estando la emperatriz Floriana en las selvas de Grecia fue robada y lo que más le sucedió") or 1, 36 ("Cómo el valeroso príncipe Rugerindo mató al malvado Abacundo y lo que más le sucedió").

27 See the titles of Chapters II, 2 ("En que se prosigue la materia comenzada y otros raros sucesos"); 11, 6 ("En que prosigue lo mismo con otros varios sucesos"); 1I, 7 ("En que se prosigue el cuento, con otros sucesos y desgracias notables") and 11, 8 ("De mi cura y otros sucesos peregrinos").

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history, big or small and in any case they cannot be by dint of the

most elementary logic irrelevant and necessary. In a manner

similar to what happens to the ingredients of authorial fiction and

pseudohistoricity, that multiply their presence and efficiency, the

construction of titles becomes more elaborate in the Quixote of

1615, and leaves open greater control and a better and more

evident effect in keeping with the parodie nature of the work.

The annotations on the margin that we have recognised as

relevant in Chapters 1, 9 and 11, 24 as well as the titles that,

especially in the second part of the Quixote, we have considered

humorously irrelevant in their fonnulation, are the result of

incorporating into the textual surface the details of the game of

transmission and the reorganisation of the original history. It is

very evident -and again we pretend to know- that this

incorporation breaks whatever is purely literal in this original

history: as in what concerns the game of transmission, the details

that we call "history of history" do not belong to the History 01

Don Quixote 01 la Mancha ,written by Cide Hamete Benengeli,

Arab historian, that has been recovered in 1, 9, and in what

concerns its reorganisation, although the applieation of the gaming

concept makes necessary a more subtle argumentation and les s

involvement and we might be able to accept without equivocatíon

that the inferences that can be drawn from the titles of the chapters

studied go beyond the creative intention of Cervantes. It seems

clear that the criterion that orders the distribution of chapters and

their fonnulation are not easy to understand in the middle of an

original story that is in keeping with what we pretend to know and

what was written by its first apocryphal author. Be that as it may,

we continue trying to "read and make sense of it".

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APPENDIX List of Titles studied

First Part

Regarding the good fortune of the valorous Don Quixote to the fearful and never imagined adventure of the windmills, along

with other events worthy of joyful remembrance. (1, 8)

In which the tale of the shepherdess Marcela is concluded and other events are related (1,13)

In which are found the desperate verses of the deceased

shepherd along with other unexpected occurrences (1, 14)

Which relates the words that passed between Sancho Panza and his master Don Quixote, and other adventures that deserve to be recounted (1, 18)

Regarding the discerníng words that Sancho exchanged with his master and the adventures he had with a dead body, as well as other famous events (1, 19)

Which relates the high adventure and rich prize of the helmet of Mambrino, as well as other things that befell our invincible knight (1, 21)

Concerning how the priest and the barber carried out their

plan, along with other matters worthy of being recounted in this great history (1, 27)

Which recounts the good judgment of the beautiful Dorotea along with other highly diverting and amusing matters (1,

30)

Regarding the de1ectable words that passed between Don Quixote and Sancho Panza, his squire as well as other events (1, 31)

58

Relevance Mm-"innl and lrrelevance

Which recounts the fierce and uncommon batde that Don Quixote had with some skins of red wine, along with other unusual events that occurred in the inn. (1,36)

In which the history of the famous Princess Micomicona

continues, along with other diverting adventures (1, 37)

Which recounts further events at the inn as well as many

other things worth knowing (1, 42)

Which recounts the pleasing tale of the mule driver's boy along with other strange events that occurred at the inn (1, 43)

In which questions regarding the helmet of Mambrino and

the packsaddle are finally resolved, as well as other entirely true

adventures (1, 45)

Regarding the strange manner in which Don Quixote de la Mancha was enchanted, and other notable events (1, 47)

In which the cannon continues to discuss books of chivalry,

as well as other matters worthy of his ingenuity (1, 48)

Regarding the astute arguments that Don Quixote had with the canon as well as other matters (1, 50)

Second Part

Which deals with the notable dispute that Sancho Panza

had with Don Quixote's niece and housekeeper, as well as other

amusing topies (II, 2)

In which Sancho Panza satisfies Bachelor Sansón Carrasco

with regard to his doubts and questions, with other events worthy of being known and recounted (11, 4)

59

Navia

Conceming the elever and amusing talk that passed between Sancho Panza and his wife Teresa Panza, and other events happy or worthy memory (II, 5)

Regarding the conversation that Don Quixote had with his squire, as well as other exceptionally famous events (H, 7)

Which recounts what will soon be seen (H, 9)

Which recounts Sancho's ingenuity in enchanting the lady Dulcinea, and other events as ridiculous as they are true (H, 10)

Regarding what befell Don Quixote in the castle or house of the Knight of the Green Coat, along with other bizarre matters

(n, 18)

Which continues the account of the wedding of Camacho,

along with other agreeable events (H, 21)

In which a thousand trifles are recounted, as irrelevant as they are necessaryfor a true understanding of this great history (H,24)

In which the diverting adventure of the puppet master continues, along with other things that are really very worthwhile (H,26)

Regarding matters that Benengeli says will be known to

the reader if he reads with attention (H, 28)

Which deals with many great things (ll, 31)

Regarding the response that Don Quixote gave to his

rebuker, along with other events both grave and comical (n, 32)

Which recounts the informatÍon that was received

regarding how the peerless Dulcinea of Toboso was to be

60

Relevance and lrrelevance

disenchanted, which is one of the most famous adventures in this book. (JI, 34)

In which the information that Don Quixote received regarding the disenchantment of Dulcinea continues, along with other remarkable events (JI, 35)

Regarding matters that concern and pertain to this adventure and this memorable history (H, 40)

Regarding the advice that Don Quixote gave to Sancho Panza before he went to govern the ínsula, along with other matters of consequence (H, 42)

Regarding what transpired between Don Quixote and Doña Rodríguez, duenna to the duchess, as well as other events worthy of being recorded and remembered forever (H, 48)

Regarding the progress of Sancho Panza' s governorship, and other matters of comparable interest (H, 51)

Which deals with matters related to this history and to no other (H, 54)

Regarding certain things that befell Sancho on the road, and others that are really quite remarkable (H, 55)

Regarding what befell Don Quixote when he entered Barcelona, along with other matters that have more truth in them than wit (H, 61)

Which relates the adventure of the enchanted head, as well as other foolishness that must be recounted (H, 62)

Which reveals the identity of the Knight of the White Moon, and recounts the release of Don Gregorio, as well as other matters (JI, 65)

61

Navia

Which recounts what will be seen by whoever reads it, or heard by whoever listens to it being read (1I, 66)

Regarding the decision that Don Quixote made to become

a shepherd and lead a pastorallife until the year of his promise had passed, aJong with other incidents that are truly pleasurable and

entertaining (JI, 67)

Which follows the chapter LXIX and deals with matters

necessary to the clarity of this history (Il, 70)

Regarding the omens that Don Quixote encountered as he entered his village along with other events that adorn and lend credit to this great history (1I, 73)

62

Relevance and Irrelevance

Bibliography

Alemán, M., Guzmán de Alfarache, ed. E. Miralles García,

Barcelona, Bruguera, 1982.

Anónimo, La vida de Lazarillo de Tormes, ed. A. Blecua, Madrid,

Castalia, 1974.

Barahona, F., Flor de caballerías, ed. J. M. Lucía Megías, Madrid, Centro de Estudios Cervantinos, 1997.

Cervantes, M. de, El ingenioso hidalgo don Quijote de la Mancha,

ed. M. de Riquer, Barcelona, Planeta, 1980.

López Navia, S., La ficción autorial en el Quijote y en sus

continuaciones e imitaciones, Madrid, Universidad Europea de Madrid-CEES Ediciones, 1996.

"La función de las fuentes indefinidas en el Quijote y en sus continuaciones e imitaciones", Siglo de Oro. Actas del IV

Congreso Internacional de AISO, ed. M. C. García de Enterría y A.

Cordón Mesa, Alcalá de Henares, Servicio de Publicaciones de la Universidad de Alcalá, 1998. v. n, pp. 917-925.

"Las distorsiones de la literalidad en el recurso a las fuentes de la historia en el Quijote. La paráfrasis imposible", Anales

Cervantinos, 35, 1999 a, pp. 263-273.

"Guía breve de Dulcineas", Actas del VIII Coloquio

Internacional de la Asociación de Cervantistas, ed. J. R. Fernández de Cano y Martín, Toledo, Ayuntamiento de El Toboso, Ediciones Dulcinea del Toboso, 1999 b, pp. 223-238.

Martorell, J. y M. J. de Galba, Tirante el Blanco, ed. M. de Riquer, Madrid, Espasa-Calpe, 1974.

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Navia

Ortúñez de Calahorra, D., Espejo de príncipes y caballeros, ed. D. Eisenberg, Madrid, Espasa-Calpe, 1975.

Quevedo, F. de, Historia de la vida del Buscón, ed. D. Ynduráin, Madrid, Espasa-Calpe, 1979.

Rodríguez de Montalvo, G., Amadís de Gaula, ed. de J. M. Cacho Blecua, Madrid, Cátedra,

64

Contextualising Don Quixote