The biography of Cervantes provides an extremely typical example of what could befall a man living during the transition from romantic chivalry to realism. Without knowing this story it is impossible to appreciate Don Quixote sociologically. ... The parodying of chivalry was no new thing in his lifetime ... In Italy, where knighthood was represented to some extent by middle-class elements, the new chivalry did not take itself quite seriously. It was doubtless here, that Cervantes was prepared for his sceptical attitude, here in the home of liberalism and humanism, and it was to Italian literature that he probably owed the first suggestion for his epoch-making joke. His work was not intended, however, merely to take a rise out of the artificial and mechanical novels of fashion, nor to become merely a criticism of out-of-date chivalry, but also to be an indictment of the world of the disenchanted, matter-of-fact reality, in which there was nothing left for an idealist but to dig himself in behind his idée fixe. The novelty in Cervantes' work was, therefore, not the ironic treatment of the chivalrous attitude to life, but the relativizing of the two worlds of romantic idealism and realistic rationalism. What was new was the indissoluble dualism of his world-view, the idea of the impossibility of realizing the idea in the world of reality and of reducing reality to the idea. ... He wavers between the justification of un-wordly idealism and of worldy-wise common sense. From that arises his own conflicting attitude toward his hero. Before Cervantes there had only been good and bad characters, deliverers and traitors, saints and blasphemers, in literature; here the hero is saint and fool in one and the same person.
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Arnold Hauser, in The Social History of Art (1951), as translated by Stanley Godman, p. 399.Miguel de Cervantes
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It will probably never be possible to prove that Cervantes was a cristiano nuevo, but the circumstantial evidence seems compelling. The Instruccion written by Fernan Diaz de Toledo in the mid-fifteenth century lists the Cervantes family as among the many noble clans of Spain that were of converso origin.
Miguel de Cervantes
Cabell's Biography of Manuel had been structured as parallel examinations of three contrasting modes of life, the Way of the Artist, the Way of Chivalry, and the Way of Gallantry. Cabell's personal "picture" of gallantry is said to have derived from the phony chivalry of late 19th century Virginians, which he imbibed with his mother's milk, his family being respectably connected to the upper crust of Virginian aristocracy. ... The models he cites, however, are the gallants of Restoration Comedy ... Mark Twain, fascinated by the chivalric ideal, was quite taken with Cabell's writings on the subject. His encouragement directed to Cabell resulted in Domnei, published in 1911 as The Soul of Melicent. ... in both The Silver Stallion and in his explications, Cabell conceptualizes the progressive vitiation of the Life as a matter of the blurring of the realities of person and place by the remove of time and the world's will to be deceived, and the work of the cosmic Romancer.
James Branch Cabell
Someone needs to mention what may be lost. Of course, one of the problems is that what I would judge to be a negative consequence, someone else might see as a positive consequence. For example, telephones in automobiles seem to me a very bad idea. So does spending a lot of hours "communicating" on the Internet when one could use that time reading Cervantes' Don Quixote.
Neil Postman
If the early Chinese people had any chivalry, it was manifested not toward women and children, but toward old people. That feeling of chivalry found clear expression in Mencius in some such saying as, "The people with gray hair should not be seen carrying burdens on the street," which was expressed as the final goal of good government.
Lin Yutang
Cervantes, Don Quixote — I read that every year, as some do the Bible.
Miguel de Cervantes
Cervantes, Miguel de
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