Part 2: Chapters XLVI - LIII

[Thomas]

We know that DQ is able to defend himself and others against human combatants, mostly male (some real, some imaginary) and now we see him fight a losing battle with a bag of angry cats. Soon after this he must defend what he perceives as an attempt on his chastity, which he of course preserves for his lady Dulcinea.

We haven't spoken too much about the women in the novel since the stories of Marcela, Dorotea/Princess Micomicona, and Camila in Part One. How do the female characters in Part Two compare? (Such as Altisidora, Dona Rodriguez, the Duchess, and the women in her company.)

We are also treated in this section to the governing style of Sancho Panza. His judgment in deciding the cases that come before him seems uncharacteristically wise, as if it were the "apocryphal" Sancho making these decisions. And yet he seems unhappy, in part because his doctor won't allow him the luxuries he deserves. Is anyone surprised by the way in which he leaves his insula?

[Thomas]

It seems to me that Cervantes in Part 2 is allowing DQ and Sancho more opportunity for depth. Even though they maintain their same basic character, they seem less two-dimensional.

DQ fending off the "seduction" of Altisidora is more interesting to me than the slapstick that dominates Part 1, and Sancho's decisions as governor allow us to see him in a different, more subtle light. I know a lot of readers find Part 2 to be repetitive, but I think the characters develop in a way that shows some refinement that we don't see in Part 1.

[Dave]

Thomas wrote: "We are also treated in this section to the governing style of Sancho Panza. His judgment in deciding the cases that come before him seems uncharacteristically wise, as if it were the "apocryphal" Sancho making these decisions."

Sancho talks about his plans to "favor those who labor" and "reward the virtuous", among other things, and the steward replies that he's "amazed to see a man as unlettered as your grace, who, I believe, has no letters at all, saying so many things full of wisdom and good counsel, far beyond what was expected of your grace's intelligence by those who sent us here..."

Thinking about this in the context of the airy discourse on arms and letters, Cervantes seems to be emphasising the importance of a whole new quality necessary in leaders – an earthy wisdom borne out of common sense and a good work ethic.

I also couldn't help wondering whether the steward unintentionally let his mask slip here, or whether his amazement was all part of the big charade?

[Dave]

Thomas wrote: "Is anyone surprised by the way in which he leaves his insula?"

I was surprised at the speed of his decision, but not so surprised at the decision itself. One of Sancho's great virtues, which (as you mention above) develops in part 2, is knowing himself and his limitations. There's a great passage in chapter LIII where he says: "St. Peter's fine in Rome: I mean, each man is fine doing the work he was born for. I'm better off with a scythe in my hand than a governor's scepter; I'd rather eat my fill of gazpacho than suffer the misery of a brazen doctor who starves me to death, ..."

[Tamara]

Dave wrote: "Cervantes seems to be emphasising the importance of a whole new quality necessary in leaders – an earthy wisdom borne out of common sense and a good work ethic..."

That's a really good point. Sancho does come across as being very grounded and wise.

I was struck by his reaction to the daughter of Diego de la Llana (chapt. XLIX). In between bouts of weeping, she tells her story. Sancho's reaction is very matter-of-fact:

Certainly, Senores, this has been a childish prank, and to tell about this foolishness and daring, there was no need for so many long tears and sighs, just saying: 'We're so-and-so and such-and-such, and we left our father's house in disguise to enjoy ourselves, just out of curiosity, for no other reason,' would have been the end of the story without all that sobbing and weeping and carrying on.

Sancho isn't taken in by the weeping and just sticks with the facts. He is not impressed by a big production of women wallowing in self-pity and tears.

This contrasts with Don Quixote's reaction whenever he sees damsels in distress. He gets easily taken in by them and wants to leap to their defense, righting perceived injustices. And for their part, the women are only too eager to exploit DQ's vulnerabilities.

Maybe the difference in their reactions can be attributed to Sancho being more grounded in the real world so he knows people can lie and manipulate whereas DQ is idealistic. Because he doesn't lie or manipulate, he is more trusting of weeping damsels.

[Rafael]

Sancho showed that he is more able to be a good leader than the "natural born leaders" from aristocracy. The Duke and the Duchess tried to prank Sancho but I suppose that it is the "moral" of these scenes: mock the aristocracy.

[Rafael]

Tamara wrote: "Maybe the difference in their reactions can be attributed to Sancho being more grounded in the real world so he knows people can lie and manipulate whereas DQ is idealistic. Because he doesn't lie or manipulate, he is more trusting of weeping damsels."

Indeed. Now I could see it. Thank you, Tamara.

[Gary]

Cphe wrote: "With the introduction of each female character - nearly every female character appears to be more beautiful than the last. Was this a particular theme for an author of the period do you think?"

From the start I’ve been puzzled by the role of the beautiful young women who appear in DQ. At first I thought they might be reflections of Dulcinea, but their roles are too varied to be understood that easily. I thought perhaps they represent platonic ideals, but not so as Dorothea and Claudia are driven by sexual passion. Some, such as Dulcinea are more imagined than real; others, such as Lucinda, are quite real with complicated lives. Marcella is totally independent and refuses to be tied to Grisostmo or to any man, but Zoraida needs a man like Ruy Perez to free herself from her family and traditions. Ana Felix and Lucinda have both husbands and lovers and drive them to jealousy. Lorthario comes to love Camila over time and against his best intentions, but Tosilos loves Dona Rodriguez’s daughter at first sight.

What can be said about all this? The only surface common thread I see here is that they are all extraordinarily physically beautiful. Sancho Panza reminds Don Quixote in Chapter 58 that “ … I’ve heard you say that beauty is the primary and chief reason for falling in love … “. Perhaps great beauty is a shorthand way for Cervantes to supply motives for his other characters' thoughts and actions. Setting up a motive for characters is done easily enough if they are motivated by love of beautiful women.

Perhaps the beautiful women in DQ are pivots on which story lines transition and move.

I’ll close with a tip of the hat to Cervantes for not settling on one stereotype for beautiful women. Being so thinly sketched, they are all stereotypes of a sort, but they are still distinct and varied.

It'd be great to hear other thoughts/reflections about this. Are there common threads, perhaps ones with more significance than I found, that I've missed entirely?

P.S. Given what's been in the news lately, I suppose it's also possible that Cervantes, who was in his late 50's when he wrote DQ, had a thing for beautiful young women.