Book II: Chapter XI – Chapter XV Summaries
Don Quixote really believes himself to be “the most unfortunate of males.” Though it is dark and late, the two tourists advance the roadway. They go by a performers of masked and disguised stars who are riding in a wagon labeled as the “cart of the Parliament of Death.”
Don Quixote stops the cart and in the ensuing exchange, Dapple disappears. Sancho has been startled by the ominous image of “Death” painted on the Cart’s side. Believing the actors to be wicked enchanters, Sancho exclaims that “the devil has actually run away with Dapple.” The stars have simply played a joke, nevertheless, and they return Dapple unscathed. Don Quixote and Sancho Panza part methods with the stars and a potentially violent occasion is pre-empted when Sancho successfully dissuades his master from enacting revenge.
Don Quixote and Sancho Panza settle under a tree to consume their “supper” and Don Quixote insists that it would have been much better for him to have assaulted the wagon and protected some little treasure for Sancho.
Sancho Panza and Don Quixote talk about philosophy and Don Quixote discuss Sancho’s growing knowledge. Sancho declares that he grows wiser the longer he associates with Quixote. The 2 fall asleep under a pair of trees, however they are soon awakened by the noise of 2 men approaching on horseback. Don Quixote is thrilled due to the fact that he senses a brand-new experience. The two guys are The Knight of the Wood and his squire, The Squire of the Wood. The Knight of the Wood plays the lute and sings a mournful sonnet, revealing his love for his terrible girlfriend, Casildea de Vandalia. The two knights have a conversation together, while Sancho and the Squire of the Wood have their own discussion.
While the 2 knights have an extremely “grave” conversation, the 2 squires exchange pleasantries. Each squire admits that he follows his respective knight due to the fact that he has been guaranteed “some island, or some quite earldom.” The two squires talk about a few of the expected difficulties of island governance. The Squire of the Wood has 3 children and Sancho has 2: both squires expect that the politics of island acquisition will benefit their children in the long run.
The conversation in between the squires also exposes that the Knight of the Wood, unlike Don Quixote, is barely an idealist. He is more of a criminal than anything else. Both squires concur that their masters are “crack-brained,” though Sancho thinks that Don Quixote, unlike the Knight of the Wood, has a great heart. Sancho Panza confesses that he does not know for how long he will continue to follow Don Quixote, but at least, he will follow his master to Zaragosa.
Cervantes at first introduced The Knight of the Wood as “the brawn Knight of the Looking-Glasses,” though it is not immediately clear why this holds true. In Chapter XIV, this secret is casually revealed with the break of daytime. When Don Quixote sees the Knight of the Wood’s glossy glittering armor, he relabels the knight on account of the armor’s mirror-like appearance.
It is decided that the two knights will duel and that the 2 squires will likewise duel. Real to character, Sancho Panza is not particularly delighted with the arrangement, but he reluctantly assents. In the early morning, Sancho Panza declines to fight the Squire of the Wood since he (Sancho) is scared by the enormous size of the Squire’s nose. Sancho does not think the Squire to be human, concluding that to fight this “hobgoblin” would invite catastrophe.
The Squire of the Wood insists upon combating therefore, Sancho needs to leave somehow. While the Knight of the Looking-Glasses prepares to charge Don Quixote, Quixote is busy hoisting Sancho Panza into a tree. When the Knight of the Looking-Glasses sees this, he slows his advance towards Don Quixote and heads for the tree to provide assistance. Don Quixote believes that the Knight of the Looking-Glasses is charging him, nevertheless. Appropriately, Don Quixote hurries towards the knight at complete speed, catching him the knight off guard and knocking him off his horse.
Don Quixote compels the knight to confess Dulcinea’s beauty. Removing the knight’s visor, Don Quixote reveals the knight to be Sampson Carrasco.
Carrasco confesses that he has actually been outlining with the priest and barber to beat Don Quixote. If the Knight of the Looking-Glasses had actually defeated Don Quixote, the Knight would have compelled Don Quixote to return house to La Mancha. Don Quixote does not think his eyes (or ears). Rather, he translates Sampson as a magic, strategically put to derail Quixote’s development. Sancho Panza exposes the Squire’s nose to be made of mulberry-colored pasteboard – certainly fake, not monstrous. In truth, the Squire is among Sancho’s neighbors, Tom Cecial.
In spite of the comedy of the scene including the “cart of the Parliament of Death,” there are a lot of grim allusions that contribute to the really negative imagery of the cart. Quixote, himself, confesses that the actors’ car looks like “Charon’s ferry-boat.” Charon is the somber boatman of Greek mythology who ferries the dead along the popular River Styx of Hades (the underworld0. The images of Cupid, Death, an angel and an emperor all suggests that the principle occasions in guy’s life run out his control (death, love, peace and governance).
If nothing else, the cart foreshadows Don Quixote’s own death at the end of Book Two. The stars’ recommendation to “Corpus Christi, [which] we have actually been performing” is a Latin, Roman Catholic phrase referring to the dead and resurrected “body of Christ.” Without the prospect of his own resurrection, just death undoubtedly looms for the novel’s hero.
Sancho harangues the actors as a band of “enchanters,” and there is an ironic credibility in Sancho’s words. The actors’ usage of masks, disguises, and remarkable singing voices do constitute a parallel to the novel’s 2 magics: Don Quixote’s superimposed and idealized projections and the “false” enchantments that Quixote’s buddies cause with the aid of dresses, beards, and other props.
Language like “farcical devil” and “phantoms” blurs an ethical review of lying (deception) with the moral review of malice (unmerited cruelty) and fate. Readers may also take a look at Sancho’s settlement with Quixote, encouraging the knight to bypass avenging the quick theft of Dapple, in light of the scene in which Don Quixote ridiculously attacks a company of mourners. Their veiled and masked temperament likewise conveyed a sense of death and foreboding. Certainly, the cart of death likewise mirrors the ox-cart remembered by the housekeeper in Book Two, Chapter VII. Transport adds another metaphor to the theme of deceptiveness, improvements, and “enchantments.”
In Chapter XII, Don Quixote makes an aesthetic argument that “actors and authors are all instruments of much benefit setting at every step a looking-glass before our eyes, in which we see really dynamic representations of the actions of human life.” Cervantes thinks Don Quixote to be remarkable to the tales of chivalry precisely due to the fact that Don Quixote’s characters are genuinely human, whereas the chivalric tales stop working to resemble truth.
There is an intriguing contrast between Don Quixote’s metaphor of literature as a looking-glass (mirror) and the Knight of the Looking-Glasses, whom Don Quixote meets soon after. The Knight is truly an actor with a complicated set of intentions and feelings. In that the Knight is eventually imitating Don Quixote, it does stand to factor that the Knight of the Looking-Glasses is a reflection of Don Quixote himself. In addition, the theme of the looking-glass is one of the devices that complicates the ego and self-consciousness of the characters in Book 2. Unlike the aesthetic discourses of Book One, in this discourse, Sancho Panza and Don Quixote describe their own experiences as interchangeable with the styles and experiences that Quixote states from literature that he has read. These characters have actually ended up being able to see and review themselves, as if they could read their story, as if they could see themselves in the mirror.
The irony of the name “Knight of the Looking-Glasses” is that the armor of mirrors conceals Sampson Carrasco’s real identity. Sampson utilizes mirrors not to reveal and expose himself, but to hide himself. The mirrors are turned so that Don Quixote can see himself, not Sampson. Even when Sampson’s face is exposed, Don Quixote can not stop “seeing himself” as a knight-errant, and he thinks Sampson to be a magic.
Don Quixote can not bear the rational consequences of this technique. Sampson’s ability to deceive Don Quixote into believing him to be a knight-errant only underscores the fragility of the entire concept of knights-errant. Something so quickly tried and faked does not prove out. Despite Don Quixote’s fiercest and most orthodox adherence, he essentially follows a nothingness.
Sampson Carrasco’s deception continues the trajectory of the priest’s schemes, although there are noteworthy contrasts in this, the first plot of Don Quixote’s buddies in Book Two. As in Book One, the plot engages Don Quixote’s dream. Level-headed people dress up, play functions, and pretend to be part of Quixote’s dream world. In Book One, Don Quixote was deceived into believing that he had done something respectable. Here, Sampson Carrasco’s objective was to beat Don Quixote and basically retire him in ignominy and pity.
In that Carrasco swears vengeance, one wonders about his motives. The reader should note that neither the priest nor the barber has read the brand-new unique about Don Quixote. Sampson has, and he might be seeking popularity as a phony knight who ratings a genuine win in the fake world of a book published in the real life. We can see Cervantes’ amusing parody of the rhetoric of censorship and book burning. In Book One, Don Quixote proved to us the threats of literature, or a minimum of, the threat of without supervision reading. Now we see the moral dangers of reading The Innovative Gentleman Don Quixote de la Mancha. Both Carrasco and Quixote are fame-seekers, and differentiating the knave from the knight is not as easy as we may think. Both males want to be written into history. We might argue that Don Quixote truly believes in knight-errantry, whereas Sampson Carrasco does not. But Don Quixote is utilizing knight-errantry as his automobile; Sampson Carrasco does not use ideology to advance his own selfish pursuits. We should not easily think Sampson Carrasco’s claim that he has conspired with the priest and barber. Certainly, this is likely and most likely. Still, Carrasco’s vow to have revenge upon Don Quixote should remind us that Sampson Carrasco is the one who originally encouraged Don Quixote to embark upon the journey.
Sampson Carrasco’s previous actions run counter to the objectives he currently claims to hold. And when Sampson Carrasco persuaded Don Quixote to leave La Mancha, he specifically violated the housekeeper’s trust. At best, Sampson is confused and ambivalent. At worst, he is a manipulative liar with dark nontransparent intentions. In either case, Sampson Carrasco makes a parody of his Scriptural name. Sampson was an Old Testimony “Hercules,” renown for his expertise as a warrior and typically referred to as the strongest guy alive. Sampson Carrasco, a scrawny bachelor-student, utilizes strategies much closer to the eventually failed efforts of the Biblical Sampson’s enemies.
In Chapter XIII, the arrangement of the sets of knights and squires offers the chance for some informative social commentary. Don Quixote comments on the impertinence of the Squire of the Wood, who dares to speak in the presence of a knight. The reader ought to remember Quixote’s duplicated censures forbidding Sancho to speak in Book One.
The squires’ discussion clearly expresses a fantasy on the part of the lower classes. Previously in the unique, Don Quixote, a gentleman, worries the reality that he can achieve honor either through “letters” or through “arms.” To put it bluntly – Sancho is illiterate, middle-aged, rotund and alcoholic. It is highly unlikely that a male in Sancho Panza’s station would have been literate and similarly not likely that he would ever be granted a position in which he might receive military honor.
Sancho’s New World fantasy is one of very manner ins which a guy of low methods might rise himself into decent society. Still, Sancho’s specific project is a pure dream, stemmed from Don Quixote’s deceptions. Don Quixote looks for an honor to bring back to Dulcinea, but Sancho is waiting for an honor to take home to his spouse. Sancho seeks an honor to hand down to his children. Don Quixote’s motives are chivalric because Quixote can manage this “leisure.” Sancho Panza’s intentions are financial: this “sally” is neither a getaway nor an adventure. It is a financial investment.