The History of Don Quixote, Volume 1, Part 05 — A Reader’s Guide
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WHEREIN ARE INSERTED THE DESPAIRING VERSES OF THE DEAD SHEPHERD, TOGETHER WITH OTHER INCIDENTS NOT LOOKED FOR
THE LAY OF CHRYSOSTOM
Since thou dost in thy cruelty desire The ruthless rigour of thy tyranny From tongue to tongue, from land to land proclaimed, The very Hell will I constrain to lend This stricken breast of mine deep notes of woe To serve my need of fitting utterance. And as I strive to body forth the tale Of all I suffer, all that thou hast done, Forth shall the dread voice roll, and bear along Shreds from my vitals torn for greater pain. Then listen, not to dulcet harmony, But to a discord wrung by mad despair Out of this bosom's depths of bitterness, To ease my heart and plant a sting in thine.
The lion's roar, the fierce wolf's savage howl, The horrid hissing of the scaly snake, The awesome cries of monsters yet unnamed, The crow's ill-boding croak, the hollow moan Of wild winds wrestling with the restless sea, The wrathful bellow of the vanquished bull, The plaintive sobbing of the widowed dove, The envied owl's sad note, the wail of woe That rises from the dreary choir of Hell, Commingled in one sound, confusing sense, Let all these come to aid my soul's complaint, For pain like mine demands new modes of song.
No echoes of that discord shall be heard Where Father Tagus rolls, or on the banks Of olive-bordered Betis; to the rocks Or in deep caverns shall my plaint be told, And by a lifeless tongue in living words; Or in dark valleys or on lonely shores, Where neither foot of man nor sunbeam falls; Or in among the poison-breathing swarms Of monsters nourished by the sluggish Nile. For, though it be to solitudes remote The hoarse vague echoes of my sorrows sound Thy matchless cruelty, my dismal fate Shall carry them to all the spacious world.
Disdain hath power to kill, and patience dies Slain by suspicion, be it false or true; And deadly is the force of jealousy; Long absence makes of life a dreary void; No hope of happiness can give repose To him that ever fears to be forgot; And death, inevitable, waits in hall. But I, by some strange miracle, live on A prey to absence, jealousy, disdain; Racked by suspicion as by certainty; Forgotten, left to feed my flame alone. And while I suffer thus, there comes no ray Of hope to gladden me athwart the gloom; Nor do I look for it in my despair; But rather clinging to a cureless woe, All hope do I abjure for evermore.
Can there be hope where fear is? Were it well, When far more certain are the grounds of fear? Ought I to shut mine eyes to jealousy, If through a thousand heart-wounds it appears? Who would not give free access to distrust, Seeing disdain unveiled, and--bitter change!-- All his suspicions turned to certainties, And the fair truth transformed into a lie? Oh, thou fierce tyrant of the realms of love, Oh, Jealousy! put chains upon these hands, And bind me with thy strongest cord, Disdain. But, woe is me! triumphant over all, My sufferings drown the memory of you.
And now I die, and since there is no hope Of happiness for me in life or death, Still to my fantasy I'll fondly cling. I'll say that he is wise who loveth well, And that the soul most free is that most bound In thraldom to the ancient tyrant Love. I'll say that she who is mine enemy In that fair body hath as fair a mind, And that her coldness is but my desert, And that by virtue of the pain he sends Love rules his kingdom with a gentle sway. Thus, self-deluding, and in bondage sore, And wearing out the wretched shred of life To which I am reduced by her disdain, I'll give this soul and body to the winds, All hopeless of a crown of bliss in store.
Thou whose injustice hath supplied the cause That makes me quit the weary life I loathe, As by this wounded bosom thou canst see How willingly thy victim I become, Let not my death, if haply worth a tear, Cloud the clear heaven that dwells in thy bright eyes; I would not have thee expiate in aught The crime of having made my heart thy prey; But rather let thy laughter gaily ring And prove my death to be thy festival. Fool that I am to bid thee! well I know Thy glory gains by my untimely end.
Part 5 of Don Quixote opens with an extended poetic inset, 'The Lay of Chrysostom,' a despairing lament that occupies the entirety of Chapter XIV. This poem, attributed to the dead shepherd Chrysostom, employs a catalogue of natural and supernatural sounds—lion's roar, wolf's howl, snake's hiss, and the wail of Hell—to convey emotional extremity. The verses stand in stark contrast to the prose narrative that follows, creating a structural hinge between pastoral romance and the rough comedy of physical violence.
The Embedded Poem as Structural Pivot
Chapter XIV consists almost entirely of Chrysostom's verses, a formal elegy that interrupts the narrative flow. The poem's elaborate conceits—demanding that Hell lend its notes, or that monsters from the Nile join the chorus—belong to a tradition of exaggerated pastoral grief. Yet this literary set-piece is immediately followed by Chapter XV's brutal beating of Don Quixote and Sancho by the Yanguesans. The juxtaposition is jarring: high-flown rhetoric gives way to low comedy. Cervantes uses the poem not merely as decoration but as a structural counterweight, testing how far the reader's patience for artifice extends before the story snaps back to physical reality.
Movement from Pastoral to Picaresque Violence
The transition from Chrysostom's lament to the 'unfortunate adventure' with the Yanguesans marks a shift in register. The pastoral setting of the poem—with its references to Tagus and Betis rivers, olive-bordered banks, and lonely shores—gives way to a roadside brawl. Don Quixote's chivalric posturing is met not with a duel but with a shower of sticks. Sancho's pragmatic commentary underscores the absurdity: he notes that Rocinante, whom he thought 'a virtuous person,' caused the beating. The movement from idealized landscape to muddy, painful encounter exemplifies the novel's picaresque tendency to undercut romantic expectations.
Recurring Images of Pain and Bodily Harm
Physical suffering is a constant in this section. Chrysostom's poem dwells on 'shreds from my vitals torn' and 'discord wrung by mad despair,' while the prose narrative delivers literal blows. Don Quixote, unable to rise, complains that his body, 'reared in soft cloth and fine linen,' feels the pain more keenly. Sancho, in contrast, claims his shoulders are used to 'such squalls.' The image of the battered knight and squire lying on the ground recurs throughout the chapter, reinforcing the gap between Quixote's imagined glory and his actual helplessness. Even Rocinante is implicated: Sancho blames the horse for the thrashing, personifying it as a traitor.
Dialogue as a Vehicle for Contrasting Worldviews
The exchange between Don Quixote and Sancho after the beating crystallizes their opposing perspectives. Quixote insists that suffering is 'necessary accompaniments of the calling of arms,' while Sancho asks whether such mishaps 'have their own fixed times.' The master appeals to chivalric precedent—citing Amadis of Gaul—while the squire thinks in terms of harvests and survival. Their dialogue is structured as a series of rebuttals, with each speaker talking past the other. This pattern, established early in the novel, here serves to highlight the irreconcilability of idealism and pragmatism, even as both characters share the same physical predicament.
Readers approaching Part 5 should attend to the way Cervantes alternates between literary artifice and raw physical comedy. The poem in Chapter XIV demands a different kind of attention than the brawl in Chapter XV; the pleasure of the section lies partly in the friction between these modes. Notice how the characters' voices—Quixote's inflated rhetoric, Sancho's proverbial wisdom—remain consistent even as the setting shifts from pastoral to picaresque. This volume offers a concentrated example of the novel's structural ingenuity.
That rainy afternoon, the reader’s guide left me sitting with Chrysostom’s harsh end, the way ideals bruise flesh. I closed it, and my hand wandered to a different shelf, landing on Tarzan the Terrible — Background and Themes. Strange, but both books share that same ache—how a civilized heart, chasing wild honor, still finds itself punished by the very world it tries to master.
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