Don Quixote Book II Summary and Analysis of Book II, Chapters 1-4

Book II: Preface-Chapter IV Summaries


In the “Preface to the Reader,” Cervantes discusses “the author of the 2nd Don Quixote,” a writer who released an incorrect follow up to Cervantes’ original work. Cervantes takes the high ground and worries the fact that the imposter’s “sin will be his punishment.” Cervantes commits the book to the terrific Conde de Lemos (Count of Lemos), and Cervantes also has kind words for the Archbishop of Toledo, Bernardo de Sandoval.

Cervantes advises us that Cid Hamet Ben Engeli is the original composer of the story.

Chapter I

For the month after Don Quixote has actually been returned to his house, the priest and barber prevent him because they do not want to remind Quixote of his unfortunate days as a knight-errant. When they see Don Quixote, it is clear to them that the gentleman intends to discover another mission in the near future. Although Don Quixote’s books have been gotten rid of, the ex-knight-errant still has an eager memory of the information of the chivalric tales.

Chapter II

Sancho Panza attempts to visit his previous master. When the maid blocks the entryway, Sancho Panza firmly insists that Don Quixote has guaranteed him an island – and Sancho Panza intends to have his island! This talk does not make any sense to the housekeeper, and she and Don Quixote’s niece start a fierce argument with Sancho.

Don Quixote hears the squabble and he commands the maid to allow Sancho Panza entry. This is not so much because Don Quixote wishes to see Sancho Panza; rather, Don Quixote is dismayed by Sancho’s loose tongue: Don Quixote hesitates that Sancho might expose some humiliating details.

In their private discussion, Sancho Panza informs his master that he has discovered of a book in which Don Quixote’s own adventures are recounted. This book is called The Innovative Gentleman Don Quixote de la Mancha. Sancho Panza is flattered that although he is a simple squire, the unique mentions him by name.

Quixote wants to find out more about this book and Sancho states that the “history” was written by a Moor called Cid Hamet Berengena. Sancho Panza has actually discovered of the book from a scholarly boy called Sampson Carrasco. Sancho accepts get Sampson so that Don Quixote can talk with him.

Chapter III

While he is waiting for Sampson Carrasco get here, Don Quixote questions how a book about his exploits could already be released. His conclusion is that the author is a Moorish sage. Don Quixote, Sancho Panza, and Sampson Carrasco have a pleasant conversation and Sampson Carrasco greatly admires the knight. Sampson likewise remedies Sancho’s mispronunciation, suggesting that the author’s name is Cid Hamet Ben Engeli. Sancho argues that the book is incorrect since it refers to Dulcinea as Doña, despite the fact that she is a typical woman.

Chapter III

For his part, Don Quixote believes that the book – as Sampson has actually explained it, has a lot of discursive ramblings and variations that include the minor characters. In specific, Sampson Carrasco goes over the discrepancy concerning the disappearance and reappearance of Dapple, Sancho’s mule. Sancho provides an explanation for Dapple’s “disappearance” however Sampson says that Sancho’s account does not make any sense. Sampson discusses a jousting tournament in Zaragosa, and recommends that Don Quixote need to go to the competition, in the hopes of acquiring honor.


In terms of social commentary, Cervantes’ review of class relations and prejudices starts early. In his Preface, Cervantes composes that “the pauper might be honorable, however not the vicious: poverty might cloud nobility, but not completely odd it ” Money and class-consciousness get even more treatment on Book 2 than in Book One. What is particularly notable here is the unusual idea that poverty and nobility are not equally unique. In Book Two, a number of poor and typical people show themselves to be virtuous, while some of their social superiors make our contempt as vicious, perverse, and unnecessarily harsh.

Cervantes’ referral to Conde de Lemos likewise reveals some details about the station of the writer in Cervantes’ society. In Chapter VI, Don Quixote argues that there are just two methods for a man to expand his area and gain popularity and honor: either through “arms” or through “letters.” Cervantes, a former soldier, shows the artist’s dependence upon a patronage system in order to secure a living.

Writers likewise had fewer legal rights than what we are accustomed to today: Cervantes had no legal redress versus Avellaneda, the guy who published his own Don Quixote sequel in 1608.

Don Quixote has actually been quarantined because of his illness, and his house functions as a metaphorical burial place. If Don Quixote’s old illness was his strongly extensive imagination, his brand-new illness is a melancholy wanderlust. Being locked up and having his imagination curtailed (his books have actually been gotten rid of) is a metaphorical “death” for Don Quixote. This is reflected in Quixote’s physical appearance. When the priest and barber visit their friend, he looks “so lean and shrivelled, that he seemed as if he was reduced to a mere mummy.”

There is a note of paradox in the “islands” gone over by Sancho Panza and Don Quixote’s housekeeper and niece. The maid asks Sancho Panza whether “islands are anything eatable,” slighting Panza’s obese figure and equally well-known love of food. Sancho Panza replies that “islands are not consumed however governed,” though the housekeepers idea of “gluttonous” hungers works as an unintended metaphor for Spain’s royal styles.

In Chapter II, the motif of “storytelling” ends up being incredibly made complex -however this sets the tone for much of what we will check out in Book 2. Many noteworthy is the truth that Sancho Panza and Don Quixote understand a released history of Don Quixote’s adventures: a freshly released unique entitled The Innovative Gentleman Don Quixote de la Mancha. Throughout Book 2, the knight and squire will come across citizens and nobles who have read this work – or are, a minimum of, acquainted with the book. To put it candidly, Don Quixote is famous – he now looks for “honor” more than fame. Of course, he would not mind if he was a little more well-known, but Quixote’s intentions are essentially various than they were when he set out on his very first two “sallies.”

The fact that Don Quixote has not read the work will certainly become a liability: Don Quixote stops working to understand how others really view him. Even more, in Book Two, the characters are more psychologically complicated than their equivalents in Book One. In a sense, the released “history” and concomitant popularity make Don Quixote and specifically Sancho Panza more awkward in basic and class-conscious in specific.

Later on, there are complications derived from “rumors” that measure up to the real published history of Don Quixote. Furthermore, the personalities of Cervantes, Cid Hamet Ben Engeli, Sancho Panza’s “Cid Hamet Berengena,” and the several “translators” of the work create a blur around a few associated concerns: authorship, authenticity, and neutrality. Just as it became hard to distinguish between the work of Cervantes and Avellaneda, it becomes difficult to distinguish between the labors of author, translator, and author.

In the instance of Sancho’s mule, Dapple, there is tension in between Sancho’s memory of what has taken place and the capacity for error – either by the “author” or the “printer.” The irony here is that Sancho’s memory is entirely the item of the author: Sancho can not do anything besides what is written into his character. And Sancho can not remember anything that has happened unless it has happened – and if it has taken place, it was tape-recorded in the book. Among the novel’s dazzling features is the method which concerns like these are explored: Surely we don’t anticipate that the novel explains every single thing that has actually happened in Sancho Panza’s life. But Sancho has no life outside of the novel.

As we check out Cervantes’ unique, a novel that goes for “realism,” Cervantes reminds us that the recorded “history” can never capture the entirety of what has in fact occurred.

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