Miguel De Cervantes’ Don Quixote (1605)

When it comes to lit­er­a­ture as the sub­ject of this blog – that is, books, gen­er­al­ly – it can be tak­en as read that I have actu­al­ly read said books. And whilst that is nor­mal­ly the case, my integri­ty com­pels me to admit that I nev­er fin­ished today’s sub­ject, Miguel de Cer­vantes’ epic mas­ter­piece, Don Quixote. I think I got about a quar­ter of the way through before sur­ren­der, many years ago now. It’s a long, dense book and real­ly, there are bet­ter things to do than wade through ear­ly 17th cen­tu­ry Span­ish nov­els. Nonethe­less, Don Quixote remains an impor­tant piece of work wor­thy of inspec­tion.

For one thing, Don Quixote (the full title being The Inge­nious Gen­tle­man Don Quixote of La Man­cha), orig­i­nal­ly pub­lished in two parts in 1605 and 1615, is con­sid­ered a found­ing work of West­ern lit­er­a­ture and is often said to be the first mod­ern nov­el. Of course, the claim to be ‘first nov­el’ is inevitably going to be con­tentious, since much depends on the def­i­n­i­tion of the word ‘nov­el’. Vying for that title are every­thing from Samuel Richardson’s Pamela (1740), Daniel Defoe’s Robin­son Cru­soe (1719), John Bunyan’s Pilgrim’s Progress (1678) and even Thomas Malory’s Le Morte D’Arthur (c. 1485), but we needn’t wor­ry about that now. All we need to know is that Don Quixote is one of the most trans­lat­ed and best-sell­ing books of all time, and that it has bequeathed to the lex­i­con the word ‘quixot­ic’ and the phrase ‘tilt­ing at wind­mills’.

The plot revolves around the adven­tures of a hidal­go from La Man­cha who reads so many chival­ric romances that he decides to become a knight-errant him­self under the name Don Quixote de la Man­cha, and sets out with his squire, San­cho Pan­za, to save his lady love Dul­cinea del Toboso, in the name of chival­ry and all that is noble and good. It’s clear that Don Quixote has essen­tial­ly lost his mind and is liv­ing a fan­ta­sy life, and whilst in his mind we know that he is liv­ing out an epic knight­ly sto­ry of hon­our and glo­ry, we are see­ing a fan­ta­sist being humoured, ignored, or attacked by all he encoun­ters.

The adven­tures begin with the famous wind­mill scene, in which Don Quixote mis­takes a group of wind­mills for fero­cious giants and charges at them, armed with a lance, on his old horse Roci­nante. Whilst San­cho Pan­za tries to ground him in real­i­ty, it is a lost cause: even when Don Quixote realis­es that they are indeed wind­mills, he claims that a magi­cian must have trans­formed the giants. ‘Tilt­ing at wind­mills’ has become syn­ony­mous with wast­ing time and ener­gy on the wrong tar­gets or tak­ing on hope­less­ly lost caus­es or imag­i­nary foes. Here’s the rel­e­vant excerpt, and you have to admire Don Quixote for the courage of his con­vic­tion! It’s fun­ny, and I might just have to go back and fin­ish the last three-quar­ters of the book some time.

Just then, they dis­cov­ered thir­ty or forty wind­mills in that plain. And as soon as don Quixote saw them, he said to his squire: “For­tune is guid­ing our affairs bet­ter than we could have ever hoped. Look over there, San­cho Pan­za, my friend, where there are thir­ty or more mon­strous giants with whom I plan to do bat­tle and take all their lives, and with their spoils we’ll start to get rich. This is right­eous war­fare, and it’s a great ser­vice to God to rid the earth of such a wicked seed.”

“What giants?” said San­cho Pan­za.

“Those that you see over there,” respond­ed his mas­ter, “with the long arms—some of them almost two leagues long.”

“Look, your grace,” respond­ed San­cho, “what you see over there aren’t giants—they’re wind­mills; and what seems to be arms are the sails that rotate the mill­stone when they’re turned by the wind.”

“It seems to me,” respond­ed don Quixote, “that you aren’t well-versed in adventures—they are giants; and if you’re afraid, get away from here and start pray­ing while I go into fierce and unequal bat­tle with them.”

And say­ing this, he spurred his horse Roci­nante with­out heed­ing what his squire San­cho was shout­ing to him, that he was attack­ing wind­mills and not giants. But he was so cer­tain they were giants that he paid no atten­tion to his squire Sancho’s shouts, nor did he see what they were, even though he was very close. Rather, he went on shout­ing: “Do not flee, cow­ards and vile crea­tures, for it’s just one knight attack­ing you!”

At this point, the wind increased a bit and the large sails began to move, which don Quixote observed and said: “Even though you wave more arms than Bri­aræus, you’ll have to answer to me.”

When he said this—and com­mend­ing him­self with all his heart to his lady Dul­cinea, ask­ing her to aid him in that per­il, well-cov­ered by his shield, with his lance on the lance rest —he attacked at Rocinante’s full gal­lop and assailed the first wind­mill he came to. He gave a thrust into the sail with his lance just as a rush of air accel­er­at­ed it with such fury that it broke the lance to bits, tak­ing the horse and knight with it, and tossed him rolling onto the ground, very bat­tered.

San­cho went as fast as his don­key could take him to help his mas­ter, and when he got there, he saw that don Quixote couldn’t stir—such was the result of Rocinante’s land­ing on top of him. “God help us,” said San­cho. “Didn’t I tell you to watch what you were doing; that they were just wind­mills, and that only a per­son who had wind­mills in his head could fail to real­ize it?”

“Keep still, San­cho, my friend,” respond­ed don Quixote. “Things asso­ci­at­ed with war, more than oth­ers, are sub­ject to con­tin­u­al change. More­over, I believe—and it’s true—that the sage Frestón—he who robbed me of my library—has changed these giants into wind­mills to take away the glo­ry of my hav­ing con­quered them, such is the enmi­ty he bears me. But in the long run, his evil cun­ning will have lit­tle pow­er over the might of my sword.”

God’s will be done,” respond­ed San­cho Pan­za.”

Don Quixote, book cover
Miguel de Cer­vantes

Humphrey Bogart and Lauren Bacall in The Big Sleep (1946)

I’m a big fan of film noir, but what exact­ly is film noir? Well, it’s a genre or style, and it was coined in the twen­ties by French film crit­ics describ­ing Hol­ly­wood movies that they saw as dark and pes­simistic, hence “black cin­e­ma” or “film noir”. Film noir movies tend to be thrillers or detec­tive movies with cer­tain com­mon ele­ments such as an anti-hero pro­tag­o­nist, a femme fatale (there go the French again), some tight, snap­py dia­logue, high-con­trast cin­e­matog­ra­phy, and a gen­er­al sense of dis­il­lu­sion­ment or cyn­i­cism (as opposed to the ide­al­ism and hap­py end­ings of many an ear­ly Hol­ly­wood movie). What bet­ter exam­ple of film noir is there than Howard Hawks’ The Big Sleep? (Clue: there prob­a­bly isn’t one).

Adapt­ed from Ray­mond Chandler’s 1939 nov­el about black­mail and mur­der, we have Humphrey Bog­a­rt as the anti-hero, pri­vate detec­tive Philip Mar­lowe, and Lau­ren Bacall as the smoul­der­ing seduc­tress, Vivian Rut­ledge. Tight dia­logue comes cour­tesy of William Faulkn­er (as an aside, Faulkn­er is bet­ter known as one of America’s great­est nov­el­ists – see The Sound and the Fury, As I Lay Dying, and Absa­lom, Absa­lom!) who co-wrote the screen­play. The cin­e­matog­ra­phy comes from the great auteur Howard Hawks (Bring­ing Up Baby, To Have and Have Not, Gen­tle­men Pre­fer Blondes, Rio Bra­vo et al).

The Big Sleep was released by Warn­er Bros on 31st August 1946, and was such a com­mer­cial suc­cess that two more “Bogie and Bacall” films were quick­ly made: Dark Pas­sage (1947) and Key Largo (1948). The sex­u­al chem­istry between the new­ly-mar­ried Bog­a­rt and Bacall is famous­ly elec­tric, and the over­all atmos­phere is sul­try and sump­tu­ous. I have watched it at least twice and whilst I nev­er real­ly fig­ured out what’s going on in its con­fus­ing plot, I nev­er real­ly cared, as I wasn’t there for the plot. I was there for Bogie and Bacall. Let’s watch Mar­lowe and Vivian’s first meet­ing, in which the ver­bal joust­ing sets the tem­per­a­ture for the rest of the movie.