Don Quixote · Chapter
Endnotes explained
The endnotes provide editorial commentary on various aspects of Don Quixote, including historical context, literary allusions, textual corrections, and explanations of proverbs and wordplay.
What happens
The endnotes provide editorial commentary on various aspects of Don Quixote, including historical context, literary allusions, textual corrections, and explanations of proverbs and wordplay. They reference authors such as Defoe, Macaulay, Lope de Vega, and Ariosto, and clarify details about chivalric romances, Spanish literature, and Cervantes' satirical techniques.
Themes in this chapter
Literature and Metafiction
The endnotes analyze Cervantes' parody of literary conventions, such as prefatory verses and chivalric romances, emphasizing the self-referential nature of Don Quixote.
Chivalry and Idealism
Commentary on the bibliography of chivalry romance and Cervantes' role in ending the production of new romances, reflecting the theme's decline.
Characters to notice
- Miguel de Cervantes
Referenced as the author of Don Quixote, with commentary on his literary techniques and satirical aims.
- Don Quixote
Mentioned in the context of parodying chivalric ballads and his adventures being the subject of editorial notes.
- Sancho Panza
Noted for his role as the gracioso and for his characteristic comments, including a blunder about Fierabras.
- Cide Hamete Benengeli
Implied as the chronicler whose narrative is subject to editorial scrutiny.
Key passages
“I am going through Don Quixote again, and admire it more than ever. It is certainly the best novel in the world beyond all comparison.”
Macaulay expresses his renewed admiration for Don Quixote, calling it the greatest novel ever written.
This quote from Macaulay's Life and Letters is used to underscore the novel's enduring literary value.
“The humor of this, and indeed of the greater part of the Preface, can hardly be relished without a knowledge of the books of the day, but especially Lope de Vega's...”
The preface's satire is best understood with knowledge of contemporary literature, particularly Lope de Vega's works.
This note explains the need for contextual understanding to appreciate Cervantes' humor.
“All translators, I think, except Shelton and Mr. Duffield, have entirely omitted these preliminary pieces of verse...”
Most translators have left out the prefatory poems, but they should be included as they parody the pompous verses typical of Cervantes' time.
The editor argues for preserving the burlesque verses as integral to the work's satirical purpose.