>> From the Library of Congress in Washington, D.C. ^M00:00:03 ^M00:00:23 >> Talia Guzman-Gonzales: On behalf of the Hispanic division I would like to welcome everyone to this beautiful room. It's quite a treat for me to be here so I hope you appreciate that as well. This is the Rosenwald Room of the Rare Book and Special Collection Division who also helped us collect this wonderful display that we're going to be talking about after the talk. As you know this year we celebrate the 400 anniversary of the death of Miguel de Cervantes Saavedra, the author of "Don Quixote", first novel reaching the modern world and published in 1605 and today you get to see one of those 1605 editions so it's-- >> Oh my. >> Talia Guzman-Gonzales: pretty exciting. The Library of Congress has an unparalleled collection of editions of "Don Quixote" and other miscellany including two definitive editions, one pirated in Portugal and another published by the author in Spain. The library also has the translations-- all the translations to "Don Quixote" including a beautifully illustrated edition in [inaudible] that we couldn't bring today but we have another event on "Don Quixote" in December and we'll have that then. Researchers who would like to learn more about our collection can start by [inaudible] book where we, it's a collection of the books of, by Miguel de Cervantes in the Library of Congress. So today we have the pleasure of welcoming Professor Hernan Sanchez Martinez de Pinillos from the Department of Spanish Portuguese at the University of Maryland. >> Whoo! >> Talia Guzman-Gonzales: [Laughs] Professor de Pinillos holds a Bachelors and a PhD in Medieval Literature with Honors for the Best Dissertation in Spanish Philology at the Universidad Complutense. He has a Masters in Philosophy and a PhD in Spanish Golden Age Literature from Columbia University in New York. He is corresponding member for the Spanish Royal Academy of History since 2012 and a Member Collaborator of Cilengua Centro Internactional de Investigacion de la Lengua Espanola. He has published a scholarly edition and study of a 15th century manuscript and numerous articles in prestigious journals on major works of Spanish and Latin American Literature including Cervantes, Lope de Vega and Quevedo. Currently he's working, or he's reviewing a publication of the books "La poesia del pensamiento Quevedo y la tradicion occidental", and "Cervantes and Edgar Allen Poe in Counterpoint". After Professor de Pinillos' talk we're going to have my colleague from the Hispanic Division Juan Manuel Perez is going to be talking about some of the rare editions that we have here at the Library of Congress. So I hope you'll stay for that as well. So welcome, Hernan. >> Hernan Pinillos: Thank you very much all of you for being here today on a rainy Friday afternoon. Thank you very much Dr. Georgette Dorn from the Hispanic Division and thank you Talia and thank you [talking in foreign language] from-- ^M00:03:36 [ Inaudible ] ^M00:03:39 >> Hernan Pinillos: That was? Okay. Yeah I was thanking Dr. Georgette Dorn for the opportunity to commemorate Cervantes' anniversary-- the anniversary of his death and Talia and the head of the Hispanic department also for well, yeah, contributing to this, the possibility of this event. I'm going to be talking a bit about the invention of the character Don Quixote, how the novel presents this character and the construction of the novel and then the projection of "Don Quixote" throughout the ages in different context. In the opening chapter of Cervantes' "Don Quixote" we meet a middle aged small town bachelor whose life is defined by its monotony and invisibility. He lives with his young niece and with a housekeeper. He has but two friends. His name is Alonso Quijano or Quijada. Alonso has no productive activity to occupy his fertile imagination. As we are informed of the dull details of a poor hidalgo's everyday life we learn that his only distinctive feature is that he devotes all his time, day and night, to the task of absorbing books of chivalry to the point of obsession. Ignoring their [inaudible] distinction between history and poetry, Alonso Quijano loses himself in books of fiction he deems to be histories of facts. In the madness of reading fictional literature as history, Alonso Quijano begins to imagine the script for his own life. And at this point something remarkable occurs. Quijano begins moving out of himself as he formulates a new life project in the form of a real character of his own invention. We as readers are present as Alonso Quijano reinvents himself. The character invented by the author is presented to the reader in his intimate process of transformation and self invention. A main character invented by Cervantes, Alonso Quijano recreates himself as the knight Don Quixote. By naming himself-- it takes a week to think of his name, Don Quixote-- Alonso Quijano literally wills himself into a new existence. In a sort of reproduction of the baptismal sacrament, an outer baptism of sorts as some critics have termed it, Alonso Quijano's madness and conversion are here inseparable. Madness is conversion and conversion is madness. We can recall all the famous religious conversions of the past. St. Paul, St. Augustine, St. Francis. But even more relevant are Ignatius of Loyola and Santa Teresa who are great readers of chivalry novels. Ignatius of Loyola read romances of chivalry while convalescing from a wound, and the religious order he created, the Jesuit Society, was to be a sort of spiritual knighthood. So you see the parallels. The stated cause of Alonso Quijano's conversion is reading, but the underlining causes have been described differently by critics. Midlife crisis. Boredom. Love. Fear of old age. The will to leave behind an empty and meaningless existence. And thus the knight Don Quijano, the hero of a tale of chivalry is being born. From now on his life will be an imitation of art and an attempt in transforming life into art. Ortega said, whose philosophical system was born as a commentary of "Don Quixote" in 1914 in the book "Meditaciones del Quijote" wrote in 1935 in [inaudible] that whether he be original or a plagiarist man-- man or and women-- or women, are the novelist of him or herself. Women and men are continually rewriting themselves after becoming dissatisfied with older versions, with their older versions and then revising their previous selves into someone new. Bored of being the invisible man Alonso Quijano, the ostracized non-entity Alonso Quijano the great reader of novels will die to be reborn as the author of his own story, the novelist of his own existence. A life titled "The Ingenious Hidalgo Don Quixote de la Mancha" [talking in foreign language], a title that is both absurd and subversive. The adjective ingenious doesn't usually qualify the noun hidalgo, a social category of lower nobility whose distinctive mark like that of all nobility would be courage. In the medical treatises of the times, men of high wit, [talking in foreign language] were described as having a precarious psychological balance. [Talking in foreign language] was typically accompanied by some sort of mania, no? So this is a strange juxtaposition, no? [Talking in foreign language] After [talking in foreign language] comes the honorific title Don [talking in foreign language] . Together Hidalgo and Don represent a contradiction. This is a socially subversive equalitarian absurdity. Usurping the title Don, reserved for the upper classes of the, the real upper ranks of the nobility, our hero's promoting himself from the class of the hidalgo, the lowest rung of the nobility to that of a caballero. Those who could introduce their first name with the title, Don. So, [talking in foreign language] is completely an absurd and also subversive title. Here the Don is related to caballero and caballero has a double meaning in the mind of Don Quixote. ^M00:10:00 Well in the mind of Don Quixote it represents a night in-- a night errant, a knight in shining armor. But caballero is also a social rank, so here you see the conflict, the misadjustment between literature and life that will characterize all of "Don Quixote". The social meaning of Don pulls the character back into the reality of contemporary Spain in 1600 even as he attempts to escape that reality into literature, escaping into literature. The antithesis between the fake Don title and the hidalgo condition is followed by the augmentative Quixote. Derived from the pejorative suffix ote modeled after the last name Quijano. Don should antecede the first name, as in Don Alonso, or in Don [inaudible]. So we have here another absurdity. The name Quixote is derived from the last name Quijano but in Spanish surnames derived from first names. Sanchez originally meant son of Sancho. Gonzales, son of Gonzalo and so on. And the name Don Quixote the normal linguistic and historical process has been inverted. The first name is derived from the family name. So the aberration of the title Don with a surname, the family Quijano or Quijada affix in the manner corresponding to a given name is the onomastic expression of the protagonist subversive madness. The name Quixote is most probably derived from the [inaudible] word [talking in foreign language] a piece of armor that covered the thigh. Don Quixote is modeled after Sir Lancelot, King Arthur's champion with whom Don Quixote will prove to be obsessed. But instead of an offensive armor like the lance eluded to in the name Lancelot, Quixote refers to a defensive armor that covers the area around the genitals which has inspired quite a few several psychoanalytic readings, no? So then we have "El Ingenioso hidalgo don Quixote de la Mancha", no? De la Mancha in contrast with the exotic beautiful landscapes of idealized romance novels, Don Quixote hails from the parched, uninteresting, dry plains of la Mancha and central Spain. In imitation of Amadis who hails from Gaula, Wales, Don Quixote incorporates his homeland de la Mancha into his name as well. The associations that de la Mancha convey are opposed to the enchanted and exotic faraway lands of the original chivalry knights. Furthermore, la Mancha has a double meaning. It refers to this dry region south of Madrid, but mancha also means stain which could imply of converse origin, not of pure blood, in another possible jab at the established order's ideological system. Well if Cervantes creates Dulcinea who has-- I'm sorry, if Cervantes creates Alonso Quijano who has created Don Quixote, Don Quixote in turn invents the fair Dulcinea from a [inaudible] according to Sanchos' description, peasant girl from neighboring [talking in foreign language] . The romantic and existentialist versions of Dulcinea has become, they have become popularized as explained by the Spanish philosopher Miguel de Unamuno. The causes of this love affair as follows. Idleness and an unfortunate love affair led him to reading books of knight errantry. And after several pages of extolling Dulcinea's [inaudible] of glory, Unamuno addresses "Don Quixote" as follow: And now my Don Quixote, take me somewhere where we can be alone together for I want to have a heart to heart talk and speak to you as many men do not care to speak even to themselves. Was it really your love of glory that led you to invest [inaudible] of whom for a while you were enamored with the image of Dulcinea? Or was it your unhappy love for the commonly young peasant girl, the love which she never heard of nor paid any heed to which turned into love of immortality? So Don Quixote's love quest for Dulcinea will be, as you know, one of the main drives of the novel. And so how is Don Quixote born? How is the character set out on the roads of Spain? Well he is born free from baggage. A new man in a 50 year olds body who in his madness believes he is a knight errant. A new identity is anachronistic both from a historical and from a biographical point of view. As his niece will point out in the beginning of part two, Don Quixote is obsolete. His materials conditions, age, physique, social and economic circumstances make him unsuitable for his intended life project. Very little is known of the protagonist's 50 first years. We do know that he, that as he approached his late 40's he turned to reading novels of chivalry. But Cervantes offers us nothing, or next to nothing. Old book without a past we know nothing about his parents nor his birthplace. Why is this? What is Cervantes' purpose? Alonso Quijano has been a non-entity for almost 50 years as we said, and the [inaudible] regarded-- as the [inaudible] regarding the protagonist's names underscores. But this lack of a past allows the author to create, to give us a character with greater freedom of movements. He evades predestination, present in the heroic, aristocratic, idealized romances of chivalry, and also the determinism of the anti-heroic picaresque novels with their materialistic and pessimistic anthropology that foreshadows in many ways social Darwinism. A symbolic understanding of Don Quixote's lack of early life history can be seen as the expression of all that is new, the importance of the future instead of the past, of the possibility of self creation, self recreation versus social conformism, a slap in the face of the established order once again. Don Quixote's born as an act of independence of a new kind of hero, heterodox and alone. And so in chapter two the imposter, the self appointed knight, Don Quixote de la Mancha will set out on his adventures one hot July morning. Don Quixote breaks away from his past, from the monotonous and predicable existence of his small town of 50 year old life and he is born to run on the road less traveled and breaking bad. Because Don Quixote will be excommunicating for attacking a funeral procession. Don Quixote will become an outlaw after setting free a group of [inaudible] dangerous prisoners in shackles. But Don Quixote does have, in spite of this, a strong ethical and aesthetic system. A complex personal creation made up of the heroic code of romances of chivalry, of the perfect courtly lover infused with biblical ancient Greek and Christian values. In his self invention, Don Quixote will rely on two famous sentences that will carry him and Sancho through the novel to Barcelona and back home. The first one is, "each person is the heir of his own actions" or more literally, "each person is the child of his own words". The Spanish for this well known line is [talking in foreign language]. To a Spanish [inaudible] cannot fail to invite comparisons with [talking in foreign language] literally son of something and more appropriately translated as son of somebody. [Talking in foreign language] was subsequently shortened into hidalgo meaning gentleman. Since hidalgo explained one's status as deriving from one's ancestors, the countering assertion that each one is [talking in foreign language] that is, each one's worth is a result of what he does rather than what forbearers did or were have reputed to have done is an expression of more than idle observation in an age which antedates the first successful social revolutions in Europe. [talking in foreign language] reflects a manner of valiant people, not by social status or popular esteem but by their true moral worth. The other sentence that founds Don Quixote's personal ethical system is, "I know who I am and who I could become", said by Don Quixote to his neighbor Pedro Alonzo in the fifth chapter of the first part when his neighbor finds the knight confused and beaten up and referring to books of chivalry. The peasant, baffled by these words uttered with such conviction, will manage to escort Don Quixote back to his village. [Talking in foreign language] said in a different context, trite as it may seem to us, a logical statement of identity, I am I, the fundamental statement of consciousness is in reality a tremendous achievement. In Don Quixote's phrase, it can be read and has been read alongside other defining religious, moral, existential and philosophical maxims no? I am who I am, Exodus 3:14. Pindar's, become whom you are. Socrates, know thyself. Polonius, to thine own self be true. ^M00:20:01 Descartes, you know, I think therefore I am. Spanish philosophers Unamuno and Ortega y Gasset who both kick-started their own systems of thought as a meditated of Cervantes' novel commented intensely this phrase in an existentialist context. Ortega founded his concept of the heroic on what he deemed Don Quixote's courageous will to resist the pressures that will lead him to lead an inauthentic existence. Hero for Ortega is he or she who discovers and affirms her original self against all social conventions, obstacles, prejudices, conventions, or expectations. What is extraordinary is that Don Quixote joins from the outset of the novel the aspiration to take action to self knowledge. Other famous characters believe that an individual designs his own fortune. In Shakespeare, Iago and Hamlet for instance. But only Don Quixote links self realization to self knowledge. The following quote from a popular best seller self help book, this quote really captures the essence of the romantic existentialist tradition of Quixote commentary. The book is "I Will Not Die an Unlived Life" by Dawna Markova. Through fear of knowing who we really are, we sidestep our own destiny which leaves us hungry in a famine for our own making. We end up living numb, passionless lives disconnected from our soul's true purpose. But when we have the courage to say-- but when we have the courage to save our life from the essence of who we are, we ignite becoming truly alive. But Don Quixote is not alone. In chapter seven he [inaudible] himself with a squire for he, for which he chooses a peasant from his village named Sancho Panza. Sancho Panza is everything Don Quixote is not and vice versa. Everybody, including people who have never read the book, know that Don Quixote's tall and thin, Sancho's short and fat. The word Panza means potbelly in Spanish. Don Quixote is a very minor aristocrat. Sancho a commoner. Don Quixote's a great reader. In fact this is what makes him Don Quixote. Whereas Sancho is an illiterate peasant. Sancho becomes, belongs to the culture of [inaudible]. He opposes the great body of folk wisdom crystallizing proverbs to Don Quixote's reliance on written text. So there will be a continuous contrast between Don Quixote's expansive literary imagination and Sancho's common sense. Don Quixote champions the personalism of feudalism with its reciprocal and abstract set of mutual obligations while Sancho yearns for a relationship based on and mediated by money. But these are not of course absolute oppositions. George Orwell in an article entitled, "The Art of Donald McGill", observed that two principles-- noble folly and base wisdom-- exist side by side in nearly every human being. If you look into your own mind, which are you, Don Quixote or Sancho Panza? Almost certainly you are both. There is one part of you that wishes to be a hero or a saint but another part of you is a little man who sees very clearly the advantages of staying alive with a whole skin. He is your unofficial self, the voice of the belly protesting against the soul. It is simply a lie to say that he is not part of you, just as is it a lie-- just as it is a lie to say that Don Quixote, that Don Quixote's not a part of you either. So Don Quixote will be based on the unending conversations, exchanges between Sancho Panza and his master. In contrast with the Picaresque novel and its monological world of survival, isolation, and loneliness, in Don Quixote the dialogue allows both characters to define themself-- themselves, and influence each other. A dialogue always assumes a certain degree of equality between the speakers. The opposite of a dialogue is the sermon, the harangued official speech. Europe as you know was divided into strict social classes and that class rigidity made dialogue across lines extremely difficult. But Cervantes created a situation in his novel that required a constant crossing of class lines in the continuous dialogue between a peasant and an hidalgo. It would be hard or perhaps impossible to find a similar situation in prose writings in Spain or elsewhere. It is true that we have in Spanish place many, many a place with the archetypical funny man [inaudible] who had criticized the behavior of young nobles. But this group of plays categorized as comedias, a genre favored by local hidalga and other playwrights. In these comedias [inaudible] criticism was on the whole discarded by the play's upper class characters. [Talking in foreign language] would connect with the audience who would laugh at him when he pokes fun at the noble but incomprehensible ideals of the upper classes. Because he could not understand their motivations nor their values. So the Spanish plays have been described as a dialogue of the deaf in terms of social classes. In Cervantes' novel it's-- on the contrary it is a constant exchange between the authority figure of Don Quixote and the illiterate Sancho Panza who has on his sides facts and common sense, what will carry the novel. Language communicates, reveals the inner self of one's character to another. Never in literature had dialogue and conversation been shown as so integral to experience before. Don Quixote and Sancho never talk past each other. They listen carefully and adjust their answers accordingly. And their unending polemic conversations and winning camaraderie and true bonding will culminate in a true friendship expressed in a letter that Don Quixote will address to Sancho Panza in the second part of the novel that he will sign simply as "your friend". We can, from a more abstract point of view we can see in this portents of the dialogue, a protest against dogmatism, against the idea of a static, unidimensional world view, you know? Cervantes' novel is structured as a dialogue on the road and an outward journey with several stays at an inn or a castle with numerous encounters with people of all social levels. But this journey is also a tour through all the literary regions of the imagination known in the early 17th century Spain. "Don Quixote" simultaneously incorporates into itself and carries on a dialogue with all the forms of fictional and non-fictional literature current in that time. Professions of literature, and that includes both writers and critics, consider "Don Quixote" at the center of the history of the novel. It includes and sums up everything that went before it. [Inaudible] essay in the prologue, [inaudible] and chivalry novels in the form of parody, the pastoral and picaresque novels, byzantine novels, Italian humanism, Spanish mysticism, the perfect tragedy and prose, comic plays, [inaudible] sonnets, ballads and burlesque poems, etcetera. No book owes so much for existing literature and no book is so different from that literature wrote Carroll B. Johnson. So as Don Quixote the character breaks away from his past, as he broke away from his past and refused to accept the social role handed to him by his ancestors and his environment, Cervantes the author will break away from all forms of literary imagination once he has absorbed them and proven that he could write excellently in all those different genres and forms. The second part of Cervantes can be-- the second part of the novel can be described as Cervantes' act of independence from tradition. After proving like later young Picasso that he could model and excel-- he could excel in every mode known of literary imagination. But Don Quixote of course as you know not only sums what has been written before, but also projects itself into the future. As [inaudible] observed, all the ideas of western novel are present in [inaudible] in "Don Quixote". ^M00:29:59 From "Joseph Andrews" written in the manner of Cervantes by Henry Fielding, to Charlotte Lennox's "The Female Quixote", from Tabitha Tenney's "Female Quixoticism" and most popular novel written in America prior to the publication of "Uncle Tom's Cabin". From "Moby Dick" and "Madame Bovary" to Dostoevsky's "The Idiot", from "The Great Gatsby" and the novels of Galdos to "Huckleberry Finn" and Faulkner and Kathy Acker's "Don Quixote" which was a dream, novelists had been exploiting and experimenting with the possibilities inherent in what Harry Levin called the Cervantine principle. Every novel bears a Quixote within it like an inner filigree just as every epic poem contains "The Iliad", like the fruit, its core observed Ortega y Gasset in 1914. [Inaudible] imagination observed that "Don Quixote" contains within itself the whole potentiality of the genre, and that the entire history of the novel could be justifiably thought as iteration of the theme of Don Quixote. The old opposition between reality and appearance, between what merely is and what merely seems. Here are some of the lessons created and passed on by Cervantes to later novels: the anti-hero as protagonist and a new understanding of heroism. The celebration of freedom through the poetics, authors, narrators, characters, readers, and the anthropology of the novel. The conflict between inner conscience and the outside world. The antithesis between imagination and the pragmatic, or between poetry and prose. The inclusion of all social levels of language and the renewal of rhetoric through the omnipresence of spoken language. The fusion of travel and dialogue is a commentary both critical and compassionate on humanity. The alternation of adventure and experience, and of humor and philosophical depth, the truth of fiction versus the fictitious appearance of reality. The questioning of the relation between what happened-- the story, and the account of what happened-- the discourse. The art of capturing a person's faith in a single phrase. The invention of a myth that springs from a core of a culture, from the core of a culture. The novel as a self reflecting genre through irony, playfulness, and parody and the development of meta-fiction. "Don Quixote" intertwined stories and different levels of fiction, literature within literature, written by numerous internal authors. The first author, the second author and unreliable narrator named [talking in foreign language] historian, the Morisco translators, the Morisco translator. But also many of the characters are writers as well. The [talking in foreign language] the lovers and poets [talking in foreign language] the captain who chronicles his life as captain in Algiers, the [inaudible] from Toledo who writes chivalry novels and Don Quixote himself as a character in search of an author who will write down his deeds. Cervantes creates a meta-fiction in which the massive presence of literature is complemented by a series of theoretical discussions on the art of literature. Arising as a natural consequence of Don Quixote's strange literature-based madness. From the 9th chapter of the first part, Don Quixote will be the story of the fictional protagonist and what happens to them. And simultaneously a meditation on the nature and modes of invention of a literary text. That is, "Don Quixote" is a novel about the adventures of Don Quixote and Sancho and a book about the adventure of writing "Don Quixote". In the second part of the novel, the characters become readers of the first part and discuss literature as though they the invented characters were as real as the author and us the readers. Pirandello and Unamuno-- Pirandello in "Six Characters in Search of an Author" and Unamuno in his novel [inaudible] "Mist" will take Cervantes' strategy to the limit and make the character more real than the author, rebel against said author. Meta-fiction is a narrative form of metaphysical questioning which makes us ponder our own place in the world. And as [inaudible] observed in the, in his essay [talking in foreign language] it unsettles the reader's own reality principle. According to [inaudible] Don Quixote's legacy is that the novelist teachers the reader how to comprehend the world as a question. And last but not least, Cervantes gave us a literary form where a character undergoes deep inner development and transformation. From conversion and madness to lucidity and reckless spiritual youth to wise disillusionment. Cervantes promises in the prologue of the second part to give the reader "Don Quixote" character [talking in foreign language] expanded versus the arrested development of the wooden characters in bad novels such as "The False Quixote" written by Cervantes' mysterious enemy Alonso Fernandez Avellaneda. The Quixote of part two is a changed man and the novel can be read as the growth of a poetic mind, a poetic mind that develops a new inwardness and melancholy possessed by self doubt. Don Quixote gives up most of the aggression and [inaudible] violence that mark his attempt to revive [inaudible] chivalry in part one and adopts a new moderation, peace ability and humanity according to David Quint in "Cervantes's Novel of Modern Times". And Sancho who grows in importance as the novel develops, evolves as well, from a peasant with not much in the way of brains to the wise governorship of [inaudible]. Cervantes' novel can in fact be read as Sancho's [talking in foreign language] Sancho's formation and education. Perhaps it is this quality of Cervantes' novel that [inaudible] Dostoevsky to conclude that "Don Quixote" condenses the deepest meaning of the human experience. Here is the famous passage from "A Writer's Diary": "There is nothing deeper and more powerful in the whole world than this piece of fiction. It is the final and greatest expression of human thought, the most bitter irony that a human is capable of expressing. And if the world came to an and people were asked somewhere, well did you understand anything from life on earth and draw any conclusion from it? A person could silently hand over 'Don Quixote'. Here is my conclusion about life". Due perhaps to the symbolic power behind the mythic and easily visualized Quixoticism, Cervantes's invention has inspired an extraordinary number of readings, interpretations, adaptations, and re-fashionings in almost every genre and medium from sculpture and painting to opera and animated cartoon. Modern philosophy and politics also cannot be understood without the mark of "Don Quixote". In Anglo-America this influence can be recognized at the level of mentalities in the process of Don Quixote's self invention based on his personal notion of freedom and responsibility. This could be linked to the archetype of the self made man and Don Quixote's famous phrase in chapter 66 of second half, "Every man is the architect of his own destiny" encapsulates this attitude, this stance. He says, "Every man is the architect of his own destiny" when Sancho Panza is looking for excuses after his questionable defeat against the Knight of the White Moon when he accepts full responsibility. Thomas Jefferson considered "Don Quixote" the best work in its genre and had his daughters study Spanish with a copy of "Don Quixote". In Jefferson's political rhetoric of freedom and potential equality and the "all men are created equal" sentence contained in the second paragraph of the United States Declaration of Independence we can recognize Don Quixote's personal moral philosophy [talking in foreign language] . Abraham Lincoln's second inaugural address, March 4th, 1865 famous motto "with malice towards none, with charity for all", echoes the ending words of Don Quixote's self portrait in chapter 32 of the second part of the novel. After having listened to the disparaging condemnation of his life's purpose and ideals by the judgmental house chaplain in the duke's palace, Don Quixote concludes his self defense speech with the following words: [talking in foreign language] In Tobias Smollett's 1755 translation, "my intention I always direct to a worthy aim; namely to do good unto all men and harm to no creature". Dr. Martin Luther King's Quixotic 1963 "I Have a Dream" speech can be read as modeled after the romantic interpretation of Don Quixote's declared mission in his famous golden age speech, to bring back the golden age utopia on Earth, to go forth and change the world and to build a society that is nobler, kinder, and just. Chapter 11 of "Don Quixote", first part. Recently, American filmmaker Martin Scorsese in his autobiography writes, "I read 'Don Quixote' just before starting 'Gangs of New York' and discovered that everything you might want to do with style, Cervantes did first; time shifts, answering his critics of the first volume in the second, all the new wave tricks. It's both terribly funny and maddening because by the end you don't really know where the point of view is coming from, who Don Quixote is, or if he really believed in what he was doing. ^M00:40:00 And the relationship with Sancho Panza is great, but over the years I was against reading it because it had become a cliche. The man charging at the windmills and all that. The one film version I did see was Grigori Kozintsev's made in Russia 1957 which I thought was good, but I haven't seen [inaudible] film, and 'Man of La Mancha' really isn't for me. Anyway, I just found out that Cervantes did it all even before Joyce and Melville. In conclusion I would like to pay the brief homage to Bob Dylan alongside Cervantes, the recent Nobel Prize winner." Well let us compare the episode of Don Quixote's dream within a dream story in Montesinos Cave in the second part chapter 23 with Bob Dylan's iconic 1965 song "Desolation Road", the closing track of Dylan's studio album "Highway 61 Revisited". Dreams have fascinated people for centuries and are present in some of the world's oldest texts. For example, Pharaoh's dream interpreted by Joseph in the Old Testament. Latin literature has Scipio's dream complete with a trip to the moon and a vision of the future of the Roman Empire. Yet the difference between these dreams and Don Quixote's dreams is essential. Most dreams from ancient literary text are either revelations about the future or premonitions of future disasters or coming successes. Not so with Don Quixote's dream. In it our hero is deeply troubled by his role in history and especially worried about his relationship with Dulcinea, or to Dulcinea. Don Quixote wakes up after falling asleep when he sits down in the cave, and so he awakens within a dream. Montesinos, the legendary figure of Carolingian ballads, that is Spanish ballads inspired by the French epic poem [talking in foreign language] greets the knight of the sad countenance. And he says, "it's been a long time valiant Don Quixote de la Mancha, that we who live in these lonely places have been awaiting for your visit. Come with me illustrious sir, and I shall show you the marvels concealed in this transparent castle. Translation, John Rutherford. Don Quixote continues his account to Sancho Panza and his guide and to the guide who led him to the cave. Says Don Quixote, "The venerable Montesinos took me into the crystal palace where there was a marble tomb upon which I saw a knight who was lying not one of bronze, marble, or jasper but made of real flesh and real blood". Don Quixote-- Montesinos explains to Don Quixote that it is-- that this is his friend Durandarte, the flower and mirror of the brave and enamored knights of his time, kept there, enchanted like many other men and women are also kept here by Merlin the French sorcerer. Durandarte had breathed his last breath in Montesinos' arms after requesting that his heart be cut out and taken to his beloved Belerma as a famous ballad sung in his tomb. Oh my cousin Montesinos, listen to my last request. When I'm lying dead before you and my soul's flown from my breast, take a poniard or a dagger, cut my heart from out of me, carry it to fair Belerma, to wherever she may be. Although more than 500 years have now passed, none of us has really died says Montesinos. Don Quixote then recounts a scene where there was a great weeping and wailing. I turned my head and through the crystal walls I saw in another room procession of two files of lonely damsels, all mourning. All the people in the processions were the servants of Belerma and Durandarte enchanted together with their master and mistress. Montesinos informs that the pallor and the rings under the eyes of Belerma are not caused by that problem women have every month because it has been months and even years since it last came knocking on her door. We inhabit an underworld where the characters are grotesque distortions of their previous heroic selves. Leading the strange absurd life trapped in another dimension of space and time. One hour has passed according to Sancho, and three days according to Don Quixote. But as Sancho Panza says, maybe what seems to us like an hour seems like three days down there. Cervantes' degraded vision of the past reveals to us how the subconscious mind of Don Quixote is much less sure of his role in the world and of the moral qualities of the woman he loves. The mythical times of heroes and legends has been infiltrated and slowly eroded by prosaic details, aging and decay. And nothing similar can be found in renaissance literature. Placing myth in a prosaic setting, subjecting the idealized creatures of legend to real time is a mode of questioning and dealing with the past passed down from Cervantes to Kafka's "Metamorphosis" and Joyce's "Ulysses" and relived by Bob Dylan to revolutionize the American song tradition. In "Desolation Row" in its surreal lyrics, Dylan weaved characters from history, fiction, the Bible, and of his own invention into a series of vignettes that suggest entropy and urban chaos. For Andy Gill, the second is "an 11 minute epic of entropy, which takes the form of a Fellini-esque parade of grotesques and oddities featuring a huge cast of iconic characters, some historical, some Biblical, some literary, and some who fit in none of the above categories. And some as Romeo, Cinderella, and Ophelia taken from the idealized literature that purveys Don Quixote's imagination. In Cervantes' cave of Montesinos, an uncanny purgatory of broken myths-- Cervantes' cave of Montesinos uncanny purgatory of broken myths, the heroes of French epic and Arthurian legends have become, alongside Don Quixote's beloved Dulcinea, enchanted figures of desolation, eroded by centuries of prose, quiet in their tombs, or passing by in a whaling procession of unending sorrow. In Dylan's "Desolation Row", Cane and Abel, Robin Hood, Casanova, the Hunchback of Notre Dame, the Phantom of the Opera, Cinderella, Romeo and Ophelia unite with Belerma and Durandarte, Montesinos and Dulcinea, lost souls in a poetic limbo awaiting for [inaudible] for the messiah knight or the American [inaudible] who would redeem them from the horrors of history, from the horrors of time. Now, sit [inaudible]. ^M00:47:33 [ Applause ] ^M00:47:44 >> Talia Guzman-Gonzales: Would you take some questions from them? >> Hernan Pinillos: Yeah, sure. >> I have a question. It's not every day that we get to meet an expert on "Don Quixote" and I just have a particular question. In 2002 I believe it was "Guardian" was it that named, that requested the best hundred writers of the time to select the best 100 books in the history of humankind and of course [inaudible] "The Gilgamesh", "The Old Man and the Sea", "The Iliad" [inaudible] but when they got to Don Quixote they couldn't even categorize it as number one and they named it the best book ever written. And then we see Don Quixote in every day aspects; book marks, in statues, in billboards, and everywhere. Yet I was astonished that on April 23rd when we celebrate the death of Cervantes, and Shakespeare, Google Doodle did not pay tribute to "Don Quixote" [laughter] and Cervantes and then it was a bombardment of Shakespeare all the time. I mean what's your take on that? What's the, your take on the fact that we have, according to [inaudible], according Carlos Fuentes, according to [inaudible] the best book ever written that doesn't get the attention that Shakespeare gets these days? >> Hernan Pinillos: Thank you. I don't know, I guess the reasons to be political. On literary grounds it's difficult to defend. There are Shakespearean critics who caught up in the what has been termed bardolatry make pejorative comparisons with Cervantes. No it's quite common to say well, in this regard Cervantes is better, but only in this regard no? You have [inaudible] who termed "Don Quixote" a squire, or could be a squire of "King Lear". >> Wow. >> Hernan Pinillos: Harold Bloom talks about the invention of the human based on Shakespeare but there are many things that Cervantes passed on to literary tradition that are not present in Shakespeare. ^M00:50:00 First of all, he invented the prevalent form of modern consciousness which is the novel. And Shakespeare's dealing with the tragedy in the mode of cineca, and Shakespeare read "Don Quixote" part one no, [inaudible] lost play. And he read a lot of Spanish literature. He read "La Philistina" [assumed spelling]. He read sentimental romance novels, pastoral novels that influenced his writing a lot, but Spain was the enemy so it wasn't a matter of quoting too much. The ending of Hamlet you know with those deaths, successive deaths, accumulation of deaths, that's present in the Spanish sentimental romance novel. But yeah we don't have this crossing of social lines in Shakespeare. We don't have the strong feminine characters, Dorotea, Marcela. Now compare them with Ophelia, Desdemona, you know? You know all the women who-- Cordelia-- you know, who let themselves die for a man. Women who were played by male actors. In Spain you had female actors interpreting strong women characters. Another aspect which I didn't develop, or I didn't touch is, that is present in Cervantes' humor, humor in all its levels and functions. You have slapstick comedy, but you have the folly as a basis to British humor, you know, laughing at oneself. In Cervantes' own creation of his fig- [inaudible] figure in the prologues, you have [inaudible] that doesn't take himself seriously. And then you have also the first time, according to one critic, where the unmotivated action, the rupture between cause and effect is presented in chapter 25 of the first part. In Don Quixote's penance he's going to do wild and crazy things in imitation of Orlando who went mad because of the infidelities of Angelica with [inaudible]. But Sancho tells him that you have no reason and there's also Cardenio who's going crazy because Lucinda he thinks has betrayed him. And Don Quixote says it's not a problem, no? [Talking in foreign language] I do this without a cause, so he's just starts going mad without a cause, no? That's the first representation of the absurd you have. Think of Ionesco [assumed spelling], Beckett, or the great Spanish Theater of the Absurd, unjustly forgotten, Javier Consela Miramura [assumed spelling]. Also Monty Python, the Marx Brothers. You have the essence, the core, the germ of that humor in "Don Quixote". >> First of all, thank you very much. That was very enlightening. >> Hernan Pinillos: Thank you. >> No philosophy has had more of an impact on modern literature and existentialism [inaudible] mentioned Quixote in that context [inaudible] Ortega. Ortega said that man has no-- ^M00:53:36 [ Inaudible ] ^M00:53:54 You've got Kafka, you've got Dostoevsky, all these writers heavily imbued with existentialists [inaudible]. So we could call "Don Quixote" rather than [inaudible] the first existentialist hero? >> Hernan Pinillos: Well, the thing is, existentialism is a 20th century movement, right? With [inaudible]. So there are, I mean as a historical determination, we can do existentialist readings or we could find existentialist motives in "Hamlet" and in "Don Quixote" but I think yeah that it, in their core you can find [inaudible] we see the construction of the character Don Quixote breaking away from the essence of being an hidalgo, or being a 50 year old bachelor, and he just reinvents himself. So that, yeah that strikes to the, your quote, the separation between history and nature. And Ortega and Unamuno constructed their philosophical systems as commentaries on "Don Quixote". In 1905, "Vida de Don Quijote y Sancho", life of Don Quixote and Sancho. In 1914, "Meditations on Don Quixote". On just reflecting on "Don Quixote" they came up with their system. So you could say at least that they, they're at the basis of this thought school. Thank you. Yeah. >> I was, I'm curious. It doesn't have much to do with your presentation but I was just curious right now since you brought up the question of Shakespeare if you have read the [talking in foreign language] and what do you think about this question of what is-- >> Hernan Pinillos: I haven't read it. >> Okay, forget it. >> Hernan Pinillos: But do you want to comment? >> No, [inaudible] I wanted to know what was your opinion about [inaudible] the first novel ever written or [inaudible]. >> Hernan Pinillos: Well the term of novel you have the idealized novels of-- I mean of Greek literature, the Byzantine novels derived from Homer, and then you have in Rome two great novels in "Satyricon" and "The Golden Ass" [talking in foreign language] so this is defining the modern novel. But also some critics say the picaresque novel "Lazarillo de Tormes" is the first novel. Some will say "La Philistina" [assumed spelling] biological work, play, that can be read as a [inaudible] novel, so there's a big theoretical discussion but in terms of modern literature with this new heroic stance with his proto-existentialist elements, characters that grow, that change. Because Ancient Greek novels were based on very fixed, defined characteristics, no? [Inaudible] the revelations, the encounters, voyages, perfect loves. But it's a different mode. So this would be the mode of the modern novel, okay? Thanks. >> Talia Guzman-Gonzales: [Inaudible] questions? Okay and then we're going to [inaudible]. >> Hernan Pinillos: Thank you. ^M00:57:26 [ Applause ] ^M00:57:32 >> This has been a presentation of the Library of Congress. Visit us at loc.gov.