En 13 – Cervantes uses this saying in Don Quixote, translated by J.M. Cohen, Penguin Books, Harmondsworth, 1986, Part II, Chapter XXIII, p. 619, in the account of the episode in Montesinos’ cave, when Don Quixote replies to Montesinos: ‘. You will know that all comparisons are odious, and so there is no reason to compare anyone with anyone.
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John Bowle (1725–1788) was an English clergyman and scholar, known today primarily for his ground-breaking, annotated edition of Cervantes's Don Quixote.
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Life[edit]
Bowle, called by his friends Don Bowle, was descended from Dr. John Bowle, bishop of Rochester. He was born on 26 October 1725, was educated at Oriel College, Oxford, and became M.A. in 1750. He was elected Fellow of the Society of Antiquaries in 1776. Having entered holy orders, he obtained the vicarage of Idmiston (spelt Idemeston in his Don Quixote), in Wiltshire, where he died on 26 October 1788, aged 63.[1][2]
An erudite scholar, Bowle was acquainted with French, Spanish, and Italian literature, and accumulated a large and valuable library, sold in 1790. He was a member of Samuel Johnson's Essex Head Club, and preceded John Douglas in detecting William Lauder's forgeries.[1]
Works[edit]
- Don Quixote (Penguin Classics) Paperback – 25 Feb 2003. Roberto Gonzalez Echevarria (Introduction), John Rutherford (Translator, Editor) & 4.4 out of 5 stars 23 customer reviews. See all 49 formats and editions Hide other formats and editions. Price New from Kindle Edition 'Please retry' 49.00.
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- Steinbeck, Quixote and Me. John Steinbeck began writing a Quixote novel in the summer of 1957 and abandoned it on December 26 that same year. John Steinbeck saw Don Quixote as a symbol of himself, and the novel’s morally arid time as a mirror of mid-twentieth-century America. And that’s why Editor Walsh got loaded on four.
Don Quixote edition[edit]
In a form of advertising of the day, Bowle published in 1777 a lengthy letter to his friend, the medievalist Thomas Percy, concerning a planned new edition of Cervantes's Don Quixote de la Mancha,' to be illustrated by annotations and extracts from the historians, poets, and romances of Spain and Italy, and other writers, ancient and modern, with a glossary and indexes.[3] He gave also an outline of the life of Cervantes in the Gentleman's Magazine, 1781, and circulated proposals to print the work by subscription.[1] In fact the Don Quixote project had originated with Percy, and the letter tacitly assigned it to Bowle.[4]
Bowle was the first to consider Cervantes in the novel Don Quixote as a classic author, comparable with ancient Greek and Latin writers. He gave the work a critical apparatus. Ahead of his time, he found his efforts largely unappreciated.[5] Today, Bowle's edition is considered the first scholarly edition of the work, and it was reproduced in facsimile in 2006.
The edition appeared in 1781, in six volumes, the first four containing the text, the fifth the notes, and the sixth the indexes.[1] (These six volumes as found in libraries today are bound into 2, 3, 4, or 6 volumes.[6]) The whole work is written in Spanish, a language which Bowle did not master. Its reception was unfavourable, except in Spain, where it was praised by es:Juan Antonio Pellicer, among others.[1]
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In 1784 Bowle complained in The Gentleman's Magazine, in four pseudonymously-signed letters, and in 1785 he published Remarks on the Extraordinary Conduct of the Knight of the Ten Stars and his Italian Squire, to the editor of Don Quixote. In a letter to J. S., D.D.[1] Here the 'Knight' was Captain John Crookshanks or Cruickshank R.N., and the 'Squire' intended Joseph Baretti.[4] Baretti retorted in a scathing, bitter book, entitled Tolondron, Speeches to John Bowle about his Edition of Don Quixote, 1786. The criticisms were reprisals for perceived slights: Bowle had made derogatory comments about Baretti in his letter to Percy, and Crookshanks, having helped Bowle, was annoyed not to receive acknowledgement in the work. 'J. S., D.D' has been tentatively identified as Joseph Simpson.[5] One of Baretti's points was that John Talbot Dillon, a Spanish-speaker also associated with the Don Quixote project, needed recognition, while Bowle treated the language solely as written.[7]
Volume 23, No. 2 of the journal Cervantes, published by the Cervantes Society of America (Fall, 2003) is dedicated to John Bowle. On its cover is the only known portrait of Bowle.[8]
Other works[edit]
Bowle published in 1765 Miscellaneous Pieces of Antient English Poesie, containing Shakespeare's King John, and some of the satires of John Marston. He contributed to James Granger's History, George Steevens's edition of Shakespeare, 1778, and Thomas Warton's History of Poetry. In Archaeologia are remarks on the old pronunciation of the French language, musical instruments mentioned in Le Roman de la Rose, parish registers, and playing cards.[1]
References[edit]
- ^ abcdefgStephen, Leslie, ed. (1886). 'Bowle, John (1725-1788)' . Dictionary of National Biography. 6. London: Smith, Elder & Co.
- ^Foster, Joseph (1888–1892). 'Bowle, John (1)' . Alumni Oxonienses: the Members of the University of Oxford, 1715–1886. Oxford: Parker and Co – via Wikisource.
- ^Bowle, John (2001). 'A Letter to Dr. Percy'(PDF). Cervantes (journal of the Cervantes Society of America). pp. 95–146. Retrieved July 20, 2018.
- ^ abR. W. Truman (2003). 'The Rev. John Bowle's Quixotic Woes Further Explored'(PDF). Cervantes (journal of the Cervantes Society of America). 23 (2). pp. 9–43. Retrieved December 28, 2018.
- ^ abTruman, R. W. 'Bowle, John'. Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/3066.(Subscription or UK public library membership required.)
- ^Eisenberg, Daniel (2003). 'La edición del Quijote de John Bowle (1781) : Sus dos emisiones'(PDF). Cervantes (journal of the Cervantes Society of America). 23 (2). pp. 45–84. Archived from the original on 2010-07-05. Retrieved 2016-09-05.CS1 maint: BOT: original-url status unknown (link)
- ^Turner, Katherine. 'Dillon, John Talbot'. Oxford Dictionary of National Biography (online ed.). Oxford University Press. doi:10.1093/ref:odnb/7658.(Subscription or UK public library membership required.)
- ^'Cervantes: Bulletin of the Cervantes Society of America. Fall 2003'. Web.archive.org. 2010-07-05. Archived from the original on 2010-07-05. Retrieved 2016-09-05.CS1 maint: BOT: original-url status unknown (link)
Further reading[edit]
- R[alph] Merritt Cox, An English ilustrado: the Reverend John Bowle. Bern; Frankfurt a.M.; Las Vegas: Peter Lang, 1977.
- R[alph] Merritt Cox, The Rev. John Bowle: the genesis of Cervantean criticism. Chapel Hill, University of North Carolina Press [1971].
Retrieved from 'https://en.wikipedia.org/w/index.php?title=John_Bowle_(writer)&oldid=876925451'
The windmills that Don Quixote mistakes for giants have something in common with the madeleine that makes Marcel’s memory buds salivate: both occur conveniently early in very long books that are, in English at least, more praised than read. And Cervantes may resemble Proust in another way. Both are comic writers, properly snagged in the mundane, whose fiction has too often been etherealized out of existence. Miguel de Unamuno, the relentlessly idealizing Spanish philosopher, considered “Don Quixote” a “profoundly Christian epic” and the true “Spanish Bible,” and correspondingly managed to write about the novel as if not a single comic episode occurred in it. W. H. Auden thought that “Don Quixote” was a portrait of a Christian saint; and Unamuno’s unlikely American supporter Harold Bloom, in his introduction to Edith Grossman’s marvellous new translation (Ecco; $29.95), reminds us that “Don Quixote,” though it “may not be a scripture,” nonetheless captures all humanity, as Shakespeare does—which sounds more like religious lament than like secular caution.
So it is worth reminding ourselves of the gross, the worldly, the violent, and, above all, the comic in “Don Quixote”—worth reminding ourselves that we are permitted the odd secular guffaw while reading it. If all of modern fiction comes out of the Knight’s cape, one reason might be that Cervantes’s novel contains the major comic tropes, from the farcical to the delicately ironic. First, there is the comedy of egotism—the “But enough about my work, what do you think of my work?” grand manner, brilliantly exploited by Tartuffe, and by Jane Austen’s Mr. Collins, who proposes to Elizabeth Bennet by listing all the ways in which he will benefit from marriage. Don Quixote is the great chivalric egotist, never more egotistical than when he appears to be most chivalrous. After he and poor Sancho Panza have suffered several adventures, including a beating by some drovers from Yanguas and being tossed in a blanket by a gang of men, Don Quixote has the nerve to tell his servant that these things are evil enchantments and so are not really happening to Sancho: “Therefore you must not grieve for the misfortunes that befall me, for you have no part in them.” This is the knight who, finding that he can’t sleep, wakes up his servant, on the principle that “it is in the nature of good servants to share the griefs of their masters and to feel what they are feeling, if only for appearance’s sake.” No wonder that Sancho elsewhere defines a knight adventurer as “someone who’s beaten and then finds himself emperor.”
The egotist is never very good at laughing at himself, laughable though he often is. Cervantes has a wonderfully undulating scene in which the Knight and his servant are riding in the hills and are stopped by a loud noise. Sancho Panza weeps with terror, and Don Quixote is moved by his tears. When they finally discover that the noise comes from “six wooden fulling hammers,” pounding away in a cloth mill, Don Quixote looks at Sancho, and sees that “his cheeks were puffed out and his mouth full of laughter, clear signs that he would soon explode, and Don Quixote’s melancholy was not so great that he could resist laughing at the sight of Sancho, and when Sancho saw that his master had begun, the floodgates opened with such force that he had to press his sides with his fists to keep from bursting with laughter.” Don Quixote gets cross with Sancho for laughing at him, and hits him with his lance, complaining, “In all the books of chivalry I have read, which are infinite in number, I have never found any squire who talks as much with his master as you do with yours.” As so often in “Don Quixote,” the reader travels, in a page or two, through different chambers of laughter: affectionate, ironic, satirical, harmonious.
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Edith Grossman’s English sensitively captures these shifting registers, as we move from the Knight’s ornate, sometimes pompous diction, via the narrator’s fluent and funny recounting, to the earthy Sancho Panza and his muddier music. We are fortunate to have at present three excellent translations of “Don Quixote”: in addition to Grossman’s, there is John Rutherford’s recent version for Penguin Classics (which takes more liberties with Sancho Panza’s demotic Spanish than Grossman’s does), and Burton Raffel’s rendering for Norton. All are scholarly and elegant; in some places they are almost indistinguishable. But Grossman, who has translated García Márquez and Vargas Llosa, has produced the most distinguished, and the most literary, of them, and those qualities are amply displayed on every page.
“Don Quixote” is the greatest of all fictional inquiries into the relation between fiction and reality, and so a good deal of the novel’s comedy is self-conscious, generated when one or more of the characters seems to step out of the book and appeal either to a nonfictional reality or directly to the audience (a staple of pantomime performance and commedia dell’arte). The second volume of “Don Quixote,” published in 1615, ten years after the first, throws irony on irony, as the Knight and his sidekick set out once again on their adventures, only to discover that they have become celebrities, because, in the interim, a book about their escapades has appeared—the volume we have just been reading. Cervantes delights in the epistemological hornet’s nest into which Don Quixote and Sancho stumble in this second volume, as they assert their reality by recourse to a prior fiction whose culmination they are now enacting. But in the first volume, long before these complexities arise, Sancho, after being beaten by the drovers from Yanguas, pleads with his master, “Señor, since these misfortunes are the harvest reaped by chivalry, tell me, your grace, if they happen very often or come only at certain times.” Sancho, as it were, winks at the audience, as if to say, “I know that I and my master are playing a role.” The awful poignancy of the novel is that the Knight does not.
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Sancho’s request is perfectly reasonable: if violence is to be cartoonish, the laws of the genre should be observed, and we should be given fair notice—the banana skin seen in advance on the sidewalk. And, certainly, many of the cartoon conventions appear in “Don Quixote.” The two heroes are never, it seems, seriously damaged, despite the thrashings they suffer. They always peel their flattened silhouettes off the ground. There is slapstick, too: at one moment, after Don Quixote has been attacked by the shepherds whose sheep he has attempted to kill, he asks Sancho to peer into his mouth to see how many teeth have been knocked out. As he is doing so, Don Quixote vomits in his face. Sancho promptly vomits back onto Don Quixote. There is plenty of such low comedy, including an inn that, like the cheese shop in the Monty Python sketch, is out of everything that is requested.
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Nowadays, it can be tedious to wade through all the needlessly spilled blood: Don Quixote is pounded with a lance by a mule driver who beats him “as if he were threshing wheat”; another mule driver hits him so hard that his mouth is bathed in blood; “half an ear” is cut off by a Basque adversary; his ribs are crushed by the drovers from Yanguas; the shepherds knock his teeth out; and he is stoned by the convicts he tries to release. Vladimir Nabokov found it cruel, and never really reconciled himself to the novel. In a Tarantino-tainted age, when “reality” always seems to get the heavy sideburns of quotation marks, such violence seems less cruel than pointedly unreal, the guarantee of its unreality being the unkillability of its victims. Some of the hysterical realism of modern writers like Pynchon and Rushdie seems to take its cue from Cervantes, the violence having been replaced by perpetual motion.
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But Cervantes’s violence makes another point, too. It is powerfully anti-idealizing. It shows us how the well-intentioned Knight ends up inflicting his good intentions on others. Near the beginning of the book, Don Quixote runs into Andrés, a boy who is being whipped by his master. Certain that his chivalric duty is to free the oppressed, he sends the master packing. Later, Andrés will turn up again, only to explain to Don Quixote and his friends that things turned out “very different from what your grace imagines.” The boy explains that the master returned and flogged him all the harder, with each blow exulting in how he was making a fool of Don Quixote. As Andrés leaves, he says to Don Quixote that if the Knight ever comes upon him again, even if he’s being torn to pieces, “don’t help me and don’t come to my aid.” In another incident, Don Quixote attacks a group of priests accompanying a corpse. Convinced that the corpse is that of a knight whose death he must avenge, he charges at the poor priests, breaking the leg of a young man. Quixote introduces himself as a knight whose “occupation and profession” is to “wander the world righting wrongs and rectifying injuries.” The young man tartly points out that this can hardly be the case, since he was fine until Don Quixote came along and broke his leg, which will be “injured for the rest of my life; it was a great misadventure for me to run across a man who is seeking adventures.”