Literary Analysis: Cervantes, Don Quixote, and San Juan de la Cruz
The Art of Novel Writing: Cervantes and Don Quixote
Cervantes presents the story of Don Quixote as found in various sources, diverging from the omniscient narrator. He vaguely recounts events, often attributing them to the protagonist’s perspective. Cervantes introduces Cid Hamet Benengeli, an Arab, as the original author of the manuscript, History of Don Quixote de la Mancha. Cervantes claims to merely follow this pre-existing narrative and employs a Moorish translator to render the manuscript into Castilian. This technique parodies the romances that often claimed to be translations from Greek or other languages.
In the second part of the work, the protagonists are aware that their lives are being chronicled in a book, thanks to the bachelor Samson Carrasco.
Madness in Don Quixote
Don Quixote’s madness manifests in several ways throughout the novel:
- During his first adventure (Chapters 1-16), the protagonist experiences a split personality, identifying as both Valdovinos (a romance hero) and the Moor Abindarraez (a character from Moorish novels). This duality diminishes in later parts of the novel.
- He begins to confuse reality with his imagined world, perceiving inns as castles and windmills as giants during his second adventure.
- In his third adventure, Don Quixote is no longer easily deceived; instead, others manipulate reality to mock him.
Literature as a Theme
Cervantes uses his novel to parody the popular books of chivalry.
Love in Don Quixote
Following the conventions of chivalry, Don Quixote needs a lady. He chooses Aldonza Lorenzo, a peasant woman, and transforms her into Dulcinea del Toboso. His love for her is based on reputation rather than direct acquaintance, a common literary trope in chivalric romances and pastoral poetry.
Justice in Don Quixote
Don Quixote sees himself as a champion of justice, righting wrongs and resolving injustices he encounters on the road. He also critiques the harshness of certain penalties and the lack of mercy in the application of justice.
Freedom in Don Quixote
Cervantes incorporates his own experiences as a captive in Algiers into the narrative.
Ideals in Don Quixote
- Don Quixote embodies the ideal of a gentleman.
- Utopian ideals are explored through the pastoral world.
- Sancho Panza represents an ideal governor on his island of Barataria.
Laughter in Don Quixote
A primary goal of the work is to evoke laughter. The comic effect arises from the actions and words of the protagonists. Cervantes frequently employs irony, creating a comic narrative with underlying seriousness.
San Juan de la Cruz: Poems and Style
San Juan de la Cruz (Juan Yepes y Alvarez) wrote both prose and verse. His major poems include:
Dark Night of the Soul
Written in Garcilaso’s lira form (7a, 11B, 7A, 7B, 11B), this poem depicts the soul (the Beloved), intoxicated with love, leaving its home (the body) at night in search of God (the Beloved). It explores the union of lovers.
Living Flame of Love
Composed of four sextets, this poem focuses on the moment of spiritual marriage.
Spiritual Canticle
Also written in Garcilaso’s lira form, this poem narrates the bride’s (the soul’s) journey in search of the bridegroom (God) within a sensual and symbolic natural setting.
These three poems exemplify mystical poetry, aiming to convey the soul’s experience after traversing three stages: the purgative way, the illuminative way, and the unitive way, ultimately achieving contact with God.
Other Poems by San Juan de la Cruz
San Juan de la Cruz also wrote:
- Romances: These poems have spiritual content, some directly inspired by the Bible.
- Songs: These poems utilize the hendecasyllable, with the most notable being “The Shepherd.”
- Glosses: These are annotations or footnotes in prose.
Style of San Juan de la Cruz
San Juan de la Cruz’s poetry attempts to express the supreme love of mystical experience, which is inherently difficult to communicate. To overcome this challenge, the poet uses ordinary language related to the senses and human love. However, the mystical experience remains ineffable, and language proves insufficient. To describe this ineffable mystical union, St. John employs a language rich in symbols and metaphors.