Don Quixote Book II Summary and Analysis of Book II, Chapters 16-18

Book II: Chapter XVI – Chapter XVIII Summaries

Chapter XVI

After the adventure with the Knight of the Looking-Glasses, Sancho Panza and Don Quixote have two very various psychological responses. Don Quixote continues with “enjoyment, fulfillment, and self-conceit.” Sancho Panza is very baffled about Tom Cecial and his pasteboard nose. Don Quixote recommends that both Tom Cecial and Sampson Carrasco were magics. However Sancho remembers his discussion with the Squire, and the details that were discussed. How could the Squire have been an enchantment when, in retrospect, the details of the Squire’s family life so resemble Tom Cecial’s?

Don Quixote sees a guy on the roadway who is dressed all in green and armed with “a Moorish scimitar.” Quixote introduces himself as the Knight of the Affecting Figure. The traveler is named Don Diego de Miranda. Don Diego counts himself among those who believe that the stories of knights-errant are not “fictitious.” In conference Don Quixote, Don Diego is thrilled on two counts: First, Don Diego is pleased to know that Spain has actually not abandoned the tradition of knight-errantry. The security that knights provide is all too required, in Don Diego’s viewpoint. Second, Don Diego is pleased to hear Don Quixote’s conversations of the newly published novel, The Ingenious Gentleman Don Quixote de la Mancha. Don Diego has not yet check out the book, however he believes that the book will enlighten its audience about the finer points of chivalry.

Don Diego’s child has chosen to become a poet instead of a scientist. Don Diego appears rather displeased at this, however Don Quixote proclaims the virtues of poetry as a source of excellent and pureness in the world. Quixote appears really found out in his discourse, mentioning the classical writers Homer, Virgil, and Horace. Don Quixote pauses in his commentary, as he views a carriage with royal banners. The carriage is advancing towards the very same side-road that Quixote intends to take.

Chapter XVII

On The Other Hand, Sancho Panza has discovered some shepherds close by, from whom he acquires curds and milk. Don Quixote sees the royal cart and gets ready for a brand-new adventure. Quixote summons Sancho, informing him that “Preparation is half the fight, and nothing is lost by being upon one’s guard.” Sancho needs a container for his curds and milk, and he selects Don Quixote’s helmet. When Don Quixote dons the helmet, he fears that his skull is softening otherwise, his brain needs to be melting. Sancho offers his master a cloth to clean his head and face. Don Quixote then accuses Sancho Panza of being a “vile traitor” for positioning the curds in his helmet. Sancho insists that this accident must be the work of an enchanter.

The royal cart consists of “2 strong lions” which are a gift to the King, from the general of Oran. Don Quixote demands that the carter open the cages so that he (Quixote) can battle the lions. After considerable objection, the carter obliges Quixote. The lions are lazy and sluggish, nevertheless, and they refuse to stir. Don Quixote quits on the idea of battling the lions and Don Diego and Sancho Panza both applaud Quixote for his bravery. In honor of this victory-by-default, Don Quixote renames himself “Knight of the Lions.” After accepting Don Diego’s invite for a go to, Quixote relabels Don Diego de Miranda as “The Knight of the Green Riding-Coat.”

Chapter XVIII

Don Diego resides in a roomy nation house and when he reaches the house, Don Quixote views the structure to be a castle. Don Diego introduces Don Quixote and Sancho Panza to his wife, Doña Christina, and his poet child, Don Lorenzo. Don Lorenzo spends much time considering whether Don Quixote seethes. At the end of Quixote’s 4 day see, Don Lorenzo does conclude that Don Quixote is crazy.

While visiting with Don Diego’s family, Quixote manages to be both crazy and intelligent. Quixote takes pleasure in Don Lorenzo’s poetry and offers a valuable review. For his part, Don Lorenzo informs his daddy that Quixote’s madness “is a collection full of lucid periods.” Just Like Don Quixote’s audience in Book One, Chapters XXXVII and XXXVIII, Don Lorenzo is floored by the knight’s ability to shuttle bus backward and forward between pure madness and sound factor.


Sancho’s frustration with Don Quixote’s explanation of the enchantment of Sampson Carrasco and Tom Cecial comes from a number of sources. Initially, Sancho remembers the various “enchantments” of Book One, beginning with the well-known windmills episode. History has taught Sancho that many of Don Quixote’s magics are deceptions. Second, an aspect of Sancho’s life (his neighbor, not Don Quixote’s) has been presented into the magic. Sancho Panza might want to trust Don Quixote on the finer notes of sage magicians and knight-errantry, but Sancho is unwilling to delivered ground on the information of his own life. Sancho Panza wants to think Don Quixote’s delusions so long as they stay within Don Quixote’s included sphere of influence. Lastly, Sancho Panza knows that a minimum of one of Don Quixote’s “magics” is the item of deception. Sancho crossed a line when he claimed that the ugly peasant woman was Dulcinea in an “enchanted” form. This perversion of a vocabulary that Quixote holds sacred makes it difficult for Sancho Panza to ever think in enchantments. Sancho Panza can be scared into immediately concluding that he is seeing some type of magic, but the folly does not continue. Sancho Panza understands that some magics are more than Quixote’s delusions – they are other people’s techniques. Quixote’s subsequent references to Dulcinea’s change as “evidence” are self-defeating, as Sancho Panza knows that he himself developed this improvement. All Sancho Panza can say on the topic of improvements is a pitch-perfect understatement: “God knows the truth.”

Sancho Panza and Don Quixote are starting to fall within a conventional master-servant relationship. In Book One, Sancho Panza was a lackey who excitedly thought in Don Quixote’s guarantees. By Chapter XVII of Book Two, Sancho has actually begun to resent his squire labors. He is more powerful in his capability to dispute. He easily talks to Don Quixote. He uses the rhetoric of “enchantment” to embarrass his master, a master who has not yet made great on his pledge (Sancho’s island).

Sancho Panza’s assessment of the “enchantment” of Sampson Carrasco is the perfect contrast (contradistinction) to Don Diego’s preliminary analysis of Don Quixote. Don Diego’s faith in the truth of knights-errant is validated on 2 counts. Initially, Don Diego sees a real knight, Quixote, standing before him. Second, this very same knight’s exploits have been recorded in an available and recent account. Here, literature offers extra proof, an extra body of proof. The “story” (historia) combines with “history” (Historia).

Among the underlying stress in Cervantes’ work is the uneasy and disturbing similarity in between the postures of Don Quixote’s mad deceptions and the habits and structures of spiritual faith. In Book 2, Cervantes reins in much of the sacrilege of Don Quixote’s actions. At the exact same time, the more crucial issues – the difference between pitiable delusion and understandable faith – is probed more deeply. To the extent that Don Quixote fashions himself as a nonreligious militant, a literary crusader, his words early in Chapter XVII are intentionally similar to scriptural passages that certainly resonated with Cervantes’ audience. One of Don Quixote’s more unforgettable quotes is, in reality, a collage (a “pastiche”) of a couple of well-known verses from the New Testament. These verses treat the subject of the Christian warrior’s need for faithful preparation, and Cervantes’ readers would have found the scriptural strains within Don Quixote’s words: “Preparation is half the battle, and absolutely nothing is lost by being upon ones guard. I know by experience, that I have opponents both visible and invisible, and I understand not when, nor from what quarter, nor at what time, nor in what shape, they will encounter me.”

Another aspect of Cervantes’ cultural context emerges in Don Quixote’s initial discussion with Don Diego. Don Diego’s son has become a poet. In this age, the young poet deals with the question of whether to write in the vernacular spoken language, Spanish, or Latin, the classical and more esteemed language. Working with all due respect to the classical works, writers like Cervantes intentionally focused upon developing a literature written in their own language. The political unification of Spain mandated and enforced the imposition of Castilian as the Spanish language (rather than among the four rival dialects). Don Quixote ended up being the very first major Castilian work of enduring literary quality, and Cervantes essentially did for Spanish language and literature what Dante had actually done for the Italian language a couple of centuries in the past.

You Might Also Like