Book II: Chapter XXXIV – Chapter XXXIX Summaries
The duke and duchess take pleasure in the stories that Don Quixote and Sancho Panza show them. The 2 nobles choose to go on a boar hunt and the knight and squire occur. Sancho is terribly terrified by the boards and he climbs up into a tree. The duke makes the argument that Sancho will be a better governor if he learns how to hunt and use weapons. As the duke describes: “Hunting is a picture of war.”
The boar-hunt is disrupted by the loud sounds of drum-beats, trumpets and Arabic fight sobs. The duke pretends to be astonished and the duchess pretends to b terrified. A “post-boy” dressed up like the devil trips approximately the group, announces that he is the devil and declares to be searching for Don Quixote. Montesinos has actually sent out the devil to Don Quixote, so that the devil can inform Don Quixote how Dulcinea may be disenchanted.
A variety of wagons continue behind the devil, amidst the din of Moorish war sobs (called Lelilies). The performance is as follows: each wagon passes prior to Don Quixote, then pauses. A “sage” exists, presents himself by name, returns into the cart, then leaves. The sages are “Lirgandeo,” “Alquife, the fantastic pal to Urganda the Unknown;” and “Arcalaus the Enchanter, mortal enemy of Amadis de Gaul and all his kindred.”
A big carriage follows the enchanters. A lady is wearing lots of veils and next to her is an old guy using a death mask. This guy is Merlin and he gives a speech dealt with to Don Quixote. The speech includes 38 lines of verse in which Merlin announces that the woman inside the carriage is the captivated Dulcinea in her “metamorphos ‘d form.” In order for Dulcinea to be captivated, Sancho has to be whipped upon his bare buttocks 3300 times. Hearing this, Sancho states that Dulcinea will pass away in her unsightly and enchanted form, since he will not be whipped. Don Quixote then says that he will connect Sancho Panza to a tree and whip Sancho himself. At this, Merlin interjects that the 3300 lashes must be willingly self-inflicted. Sancho Panza restates his rejection, at which point, Dulcinea herself pleads for Sancho’s mercy. Sancho Panza ultimately capitulates but he states that he will dot he whipping a little bit at a time and just when he seems like it. Both the duke and duchess commend Sancho Panza for his brave self-sacrifice.
Later in the day, the duchess consults with Sancho to see whether he has started his lashes. Instead, Sancho has invested the time writing a letter to his partner, Teresa. (Sancho is illiterate therefore, the letter has been transcribed by another person). In the letter, Sancho discusses the nature of the injuries he is to suffer and Sancho also reveals to his spouse that he is being made Governor of an island. The letter is dated the 20th of July, 1614, which is the first circumstances in which Cervantes tells us “when” the story occurs.
Sancho’s letter is surprisingly lyrical and Don Quixote is especially enthralled by the letter’s “confused, martial, and doleful harmony.” While Sancho is not particularly excited about governing, he is heartened by the understanding that federal government service will make him “rich and pleased.”
The castle receives a visitor named Trifaldin of the White Beard, the squire to the Countess Trifaldi (who is known in more current times as The Affected Matron). The Countess Trifaldi has heard that “the valorous and invincible Don Quixote de la Mancha” is at the duke’s castle. Appropriately, the Countess has actually sent Trifaldin since she remains in desperate requirement of the knight-errant’s help.
Sancho Panza is concerned at the unexpected change of occasions. Especially, he has actually had bad luck and tense relations with matrons and duennas. Sancho Panza fears that in some way, Don Quixote’s participation with the Countess Trifaldi will cause Sancho to lose his governor’s seat. Don Quixote neglects Sancho’s discuss Trifaldi and encourages the squire not to meddle in knight’s affairs.
Trifaldi is a name that means “3 skirts” (faldas) referring to the Countess’ practice of gown. The Affected Matron arrives at the duke’s castle escorted by twelve of her own duennas. She instantly discovers Don Quixote and pays him homage by being up to her knees. Just when Don Quixote promises to help her does she get up from the flooring. The Countess Trifaldi makes certain to obtain Don Quixote’s promise of support prior to she really tells him the nature of her misfortune.
The Countess’ story babbles: She worked as a duenna for a princess. The princess liked a knight and the Countess facilitated their relationship – a relationship that culminated in pregnancy and a hasty wedding to the knight, Don Clavijo.
The princess’ mother was mortified by the course of events and she litigated to oppose the marriage. When this stopped working, she went home, grieved, and died of grief within three days. The mother’s cousin is the evil enchanter-giant named Malambruno. Malumbruno avenged his cousin’s death by turning the princess and knight into statuesque accessories to decorate the mother’s sepulcher. The princess is now a brass monkey and the knight is now a crocodile made of “an unknown metal.” The giant has actually left a metal plate at the grave site suggesting that the monkey and crocodile will remain as they are up until the brave hero of La Mancha battles the giant. The countess and her duennas have also been cursed with hideous and permanent beards, to penalize them for assisting the princess.
The hunt motif illustrates the relationship that the duke and duchess show the people around them. The boar-hunt is a recreation that truly parallels the video game that the duke and duchess play with Don Quixote. Traps are intentionally set; the animal is tortured and injured – but not killed. Certainly, Don Quixote has been secured a cage prior to. Here, the cage is the castle of the duke.
Obviously, Don Quixote is so simple to hunt and cage due to the fact that he has been caged and imprisoned by his own deceptions. Don Quixote’s delusions make up a system of images and signs that have real meaning for him (for example: INN = CASTLE; Stranger-on-the-road = Next experience; Distressed fan = associate; WINDMILL = GIANT; SHEEP = WARRIORS). The sensible system of Don Quixote’s delusions is made so obvious here in Book II by the truth that the duke and duchess know precisely how to deceive Quixote. The carts that roll by are full of satanic forces, much as Don Quixote has come to anticipate. And the duke and duchess, though they have actually simply found out of Montesinos, do not think twice to include Montesinos and his “prophecies” into their story.
An irony in this section, then, is the truth that Quixote is both deluded and deceived. We would anticipate that if delusion is a kind of self-deception, one can not be deluded and tricked at the exact same time and by the exact same details. As it ends up, Don Quixote stays within his own “magic” and from within this magic, he works to “disenchant” Dulcinea: a woman who neither suffers magic nor even exists.
These devils and sages are merely costumed stars, like the other cart-wagon of devils that Quixote experienced earlier. The efficiency has plenty of signifiers that are intended to explain the identity of the actors. The devil is impersonated himself (as we know what he appears like) and when the page-boy’s Catholicism unintentionally glimpses through (in phrases like “Prior to God, and upon my conscience), Don Quixote and Sancho Panza are no less convinced that this devil isn’t a devil at all. Similarly, the sages need merely reveal their dreadful names and say no more, enabling the drama of the scene to persuade the audience of their (the stars’) authenticity. Obviously, Don Quixote isn’t the toughest audience: remember his episode at Master Peter’s puppet program in Book II, Chapter XXVI.
Don Quixote’s supposed “valor” is built as a parallel to the service that a saint or holy therapist might perform. Trifaldi has actually already commenced a trip “on foot” to see Don Quixote from whom she looks for a miracle.
Foreshadowing Sancho Panza’s incipient rule as guv, the story of the Countess Trifaldi continues the themes of nobility, natural guideline and social hierarchy. Obviously, Trifaldi is both a countess and a duenna, which is basically a maid-servant. Don Quixote argues that a Countess is a Countess, even if she functions as a duenna, for then she serves as a duenna to a social exceptional like a queen or empress. Furthermore, the Countess undoubtedly has duennas in her own home.
There is a note of catastrophe in the words of Doña Rodriguez, the duchess’ servant. Commenting on the rigid social order and the lack of social mobility, Doña Rodriguez quietly states: “My woman duchess has duennas in her service, who might have been countesses, if fortune had pleased.” The catastrophe here is that the duchess, a wicked ruler, has been blessed by fortune. Besides this, Doña Rodriguez has no potential customers of her own. Fortune and the privileges of birth are definitely part of a society’s concept of justice. The discussion of duennas becomes part of the prelude to Sancho’s governorship – which will not be endangered by the Afflicted Matron.
The themes of translation and textual precision return when we discover that Malumbruno has actually positioned a metal plate at the grave website. The plate was engraved in Syrian, equated initially into the Candayan language, and then into Castilian.
As a parallel to his advocacy for Quiteria and Basilius, Don Quixote here once again safeguards the rights of fans. Don Quixote’s adventures now center on the concept of undoing the unnatural turnarounds dedicated by evil, fate, and enchanters. The Countess, though debased as a duenna, may be elevated to higher honor. The brass monkey and crocodile can be “disenchanted” into their natural kinds (princess, knight). At the same time, Don Quixote is undisturbed by his sudden transformation into a recognizable knight of renown or Sancho’s improvement into a governor.