Don Quixote

________________________________________________
Title:     Don Quixote
Author: Heinrich Heine [More Titles by Heine]

[The following admirable account of Don Quixote--here given chiefly in Mr. Fleishman's translation--was written in 1837, as the introduction to an edition de luxe of Cervantes's masterpiece.]

The first book that I read after I arrived at boyhood's years of discretion, and had tolerably mastered my letters, was The Life and Deeds of the Sagacious Knight, Don Quixote de la Mancha, written by Miguel Cervantes de Saavedra. Well do I remember the time, when, early in the morning, I stole away from home and hastened to the court-garden, that I might read Don Quixote without being disturbed. It was a beautiful day in May, the blooming Spring lay basking in the silent morning light, listening to the compliments of that sweet flatterer, the nightingale, who sang so softly and caressingly, with such a melting fervour, that even the shyest of buds burst into blossom, and the lusty grasses and the fragrant sunshine kissed more rapturously, and the trees and flowers trembled from very ecstasy. But I seated myself on an old moss-covered stone bench in the so-called Avenue of Sighs, not far from the water-fall, and feasted my little heart with the thrilling adventures of the valiant knight. In my childish simplicity I took everything in sober earnest; no matter how ridiculous the mishaps which fate visited upon the poor hero, I thought it must be just so, and imagined that to be laughed at was as much a part of heroism as to be wounded; and the former vexed me just as sorely as the latter grieved my heart. I was a child, and knew nothing of the irony God has interwoven into the world, and which the great poet has imitated in his miniature world;--and I wept most bitterly, when for all his chivalry and generosity the noble knight gained only ingratitude and cudgels. As I was unpracticed in reading, I spoke every word aloud, and so the birds and the trees, the brooks and the flowers, could hear all I read, and as these innocent beings know as little as children of the irony of the world, they too took it all for sober earnest, and wept with me over the sorrows of the unfortunate knight; an old worn-out oak sobbed even; and the water-fall shook more vehemently his white beard, and seemed to scold at the wickedness of the world. We felt that the heroism of the knight was none the less worthy of admiration because the lion turned tail without fighting, and that if his body was weak and withered, his armour rusty, his steed a miserable jade, his deeds were all the more worthy of praise. We despised the vulgar rabble who beat the poor hero so barbarously, and still more the rabble of higher rank, who were decked in silk attire, gay courtly phrases, and grand titles, and jeered at the man who was so far their superior in powers of mind and nobility of soul. Dulcinea's knight rose ever higher in my esteem, and my love for him grew stronger and stronger the longer I read in that wonderful book, which I continued to do daily in that same garden, so that when autumn came I had reached the end of the story,--and I shall never forget the day when I read the sorrowful combat, in which the knight came to so ignominious an end.

It was a gloomy day; dismal clouds swept over a leaden sky, the yellow leaves fell sorrowfully from the trees, heavy tear-drops hung on the last flowers that drooped down in a sad faded way their dying little heads, the nightingales had long since died away, from every side the image of transitoriness stared at me--and my heart was ready to break as I read how the noble knight lay on the ground, stunned and bruised, and through his closed visor said, in tones faint and feeble, as if he was speaking from the grave, "Dulcinea is the fairest lady in the world, and I the unhappiest knight on earth, but it is not meet that my weakness should disown this truth--strike with your lance, Sir Knight."

Ah me! that brilliant knight of the silver moon, who vanquished the bravest and noblest man in the world, was a disguised barber!

That was long ago. Many new springs have bloomed forth since then, yet their mightiest charm has always been wanting, for, alas! I no longer believe the sweet deceits of the nightingale, Spring's flatterer; I know how soon his magnificence fades, and when I look at the youngest rosebuds I see them in spirit bloom to a sorrowful red, grow pale, and be scattered by the winds. Everywhere I see a disguised Winter.

In my breast, however, still blooms that flaming love, which soared so ardently above the earth, to revel adventurously in the broad yawning spaces of heaven, and which, pushed back by the cold stars, and sinking home again to the little earth, was forced to confess, with sighing and triumph, that there is in all creation nothing fairer or better than the heart of man. This love is the inspiration that fills me, always divine, whether it does foolish or wise deeds.--And so the tears the little boy shed over the sorrows of the silly knight were in no wise spent in vain, any more than the later tears of the youth, as on many a night he wept in the study over the deaths of the holy heroes of freedom--over King Agis of Sparta, over Caius and Tiberius Gracchus of Rome, over Jesus of Jerusalem, and over Robespierre and Saint Just of Paris. Now that I have put on the toga virilis, and myself desire to be a man, the tears have come to an end, and it is necessary to act like a man, imitating my great predecessors; in the future, if God will, to be wept also by boys and youths. Yes, upon these one can still reckon in our cold age; for they can still be kindled by the breezes that blow to them from old books, and so they can comprehend the flaming hearts of the present. Youth is unselfish in its thoughts and feelings, and on that account it feels truth most deeply, and is not sparing, where a bold sympathy is wanted, with confession or deed. Older people are selfish and narrow-minded; they think more of the interest of their capital than of the interest of mankind; they let their little boat float quietly down the gutter of life, and trouble themselves little about the sailor who battles with the waves on the open sea; or they creep with clinging tenacity up to the heights of mayoralty or the presidency of their club, and shrug their shoulders over the heroic figures which the storm throws down from the columns of fame; and then they tell, perhaps, how they themselves also in their youth ran their heads against the wall, but that later on they reconciled themselves to the wall, for the wall was the absolute, existing by and for itself, which, because it was, was also reasonable, on which account he is unreasonable who will not endure a high, reasonable, inevitable, eternally-ordained absolutism. Ah, these objectionable people, who wish to philosophise us into a gentle slavery, are yet more worthy of esteem than those depraved ones who do not even admit reasonable grounds for the defence of despotism, but being learned in history fight for it as a right of custom, to which men in the course of time have gradually accustomed themselves, and which has so become incontestably valid and lawful.

Ah, well! I will not, like Ham, lift up the garment of my fatherland's shame; but it is terrible how slavery has been made with us a matter for prating about, and how German philosophers and historians have tormented their brains to defend despotism, however silly or awkward, as reasonable and lawful. Silence is the honour of slaves, says Tacitus; these philosophers and historians maintain the contrary, and exhibit the badge of slavery in their button-holes.

Perhaps, after all, you are right, and I am only a Don Quixote, and the reading of all sorts of wonderful books has turned my head, as it was with the Knight of La Mancha, and Jean Jacques Rousseau was my Amadis of Gaul, Mirabeau my Roland or Agramanto; and I have studied too much the heroic deeds of the French Paladins and the round table of the National Convention. Indeed, my madness and the fixed ideas that I created out of books are of a quite opposite kind to the madness and the fixed ideas of him of La Mancha. He wished to establish again the expiring days of chivalry; I, on the contrary, wish to annihilate all that is yet remaining from that time, and so we work with altogether different views. My colleague saw windmills as giants; I, on the contrary, can see in our present giants only vaunting windmills. He took leather wine-skins for mighty enchanters, but I can see in the enchanters of to-day only leather wine-skins. He held beggarly pot-houses for castles, donkey-drivers for cavaliers, stable wenches for court ladies; I, on the contrary, hold our castles for beggarly pot-houses, our cavaliers for mere donkey-drivers, our court ladies for ordinary stable wenches. As he took a puppet-show for a state ceremony, so I hold our state ceremonies as sorry puppet-shows, yet as bravely as the brave Knight of La Mancha I strike out at the clumsy machinery. Alas! such heroic deeds often turn out as badly for me as for him, and like him I must suffer much for the honour of my lady. If I denied her from mere fear or base love of gain, I might live comfortably in this reasonably-constructed world, and I should lead a fair Maritorna to the altar, and let myself be blessed by fat enchanters, and banquet with noble donkey-drivers, and engender harmless romances as well as other little slaves! Instead of that, wearing the three colours of my lady, I must strike through unspeakable opposition, and fight battles, everyone of which costs me my heart's blood. Day and night I am in straits, for those enemies are so artful that many I struck to death still give themselves the appearance of being alive, changing themselves into all forms, and spoiling day and night for me. How many sorrows have I suffered by such fatal spectres! Where anything lovely bloomed for me then they crept in, those cunning ghosts, and broke even the most innocent buds. Everywhere, and when I should least suspect it, I discovered on the ground the traces of their silvery slime, and if I took no care, I might have a dangerous fall even in the house of my love. You may smile and hold such anxieties for idle fancies like those of Don Quixote. But fancied pains hurt all the same; and if one fancies that he has drunk hemlock he may get into a consumption, and he certainly will not get fat. And the report that I have got fat is a calumny; at least I have not yet received any fat sinecure, even if I possess the requisite talents. I fancy that everything has been done to keep me lean; when I was hungry they fed me with snakes, when I was thirsty they gave me wormwood to drink; they poured hell into my heart, so that I wept poison and sighed fire; they crouched near me even in my dreams; and I see horrible spectres, noble lackey faces with gnashing teeth and threatening noses, and deadly eyes glaring from cowls, and white ruffled hands with gleaming knives.

And even the old woman who lives near me in the next room considers me to be mad, and says that I talk the maddest nonsense in my sleep; and the other night she plainly heard me calling out--"Dulcinea is the fairest woman in the world, and I the unhappiest knight on earth; but it is not meet that my weakness should disown this truth. Strike with your lance, Sir Knight!"

* * * * *

It is now eight years since I wrote the foregoing lines[14] for the Fourth Part of the Reisebilder, in which I described the impression which the reading of Don Quixote had made on my mind many years ago. Good Heavens! how swiftly time flies! It seems to me as if it were but yesterday that, in the Avenue of Sighs, in the court-garden at Düsseldorf, I finished reading the book, and my heart is still moved with admiration for the deeds and sufferings of the noble knight. Has my heart remained constant in this ever since, or has it, after passing through a wonderful cycle, returned to the emotions of childhood? The latter may well be the case, for I remember that during each lustrum of my life Don Quixote has made a different impression upon me. When I was blossoming into adolescence, and with inexperienced hands sought to pluck the roses of life, climbed the loftiest peaks in order to be nearer to the sun, and at night dreamed of naught else but eagles and chaste maidens, then Don Quixote was to me a very unsatisfactory book, and if it chanced to fall in my way I involuntarily shoved it aside. At a later period, when I had ripened into manhood, I became to a certain degree reconciled to Dulcinea's luckless champion, and I began to laugh at him. The fellow is a fool, said I. And yet, strange to say, the shadowy forms of the lean knight and his fat squire have ever followed me in all the journeyings of my life, particularly when I came to any critical turning-point. Thus I recollect that while making the journey to France, one morning in the post-chaise I awakened from a half-feverish slumber, and saw in the early morning mist two well-known figures riding by my side. The one on my right was Don Quixote de la Mancha, mounted on his lean, abstract Rosinante, the other on my left was Sancho Panza, on his substantial, positive grey donkey. We had just reached the French frontier. The noble Manchean bowed his head reverently before the tri-coloured flag, which fluttered towards us from the high post that marks the boundary line. Our good Sancho saluted with a somewhat less cordial nod the first French gendarmes whom we saw approaching near by. At last my two friends pushed on ahead, and I lost sight of them, only now and then I caught the sound of Rosinante's spirited neighing, and the donkey's responsive bray.

At that time I was of the opinion that the ridiculousness of Don Quixotism consisted in the fact that the noble knight endeavoured to recall a long-perished past back to life, and his poor limbs and back came into painful contact with the harsh realities of the present. Alas! I have since learned that it is an equally ungrateful folly to endeavour to bring the future prematurely into the present, and that for such an assault upon the weighty interests of the day, one possesses but a very sorry steed, a brittle armour, and an equally frail body! And the wise man dubiously shakes his sage head at the one, as well as at the other, of these Quixotisms. But Dulcinea del Toboso is still the most beautiful woman in the world; although I lie stretched upon the earth, helpless and miserable, I will never take back that assertion, I cannot do otherwise--on with your lances, ye Knights of the Silver Moon, ye disguised barbers!

What leading idea guided Cervantes when he wrote his great book? Was his purpose merely the destruction of the romances of knight-errantry, the reading of which at that time was so much the rage in Spain that both clerical and secular ordinances against them were powerless? Or did he seek to hold up to ridicule all manifestations of human enthusiasm in general, military heroism in particular? Ostensibly he aimed only to satirise the romances above referred to, and through the exposition of their absurdities deliver them over to universal derision, and thus put an end to them. In this he succeeded most brilliantly; for that which neither the exhortations from the pulpit, nor the threats of the authorities could effect, that a poor writer accomplished with his pen. He destroyed the romances of chivalry so effectually that soon after the appearance of Don Quixote the taste for that class of literature wholly died out in Spain, and no more of that order were printed. But the pen of a man of genius is always greater than he himself; it extends far beyond his temporary purpose, and without being himself clearly conscious of it, Cervantes wrote the greatest satire against human enthusiasm. He had not the least presentiment of this, for he himself was a hero, who had spent the greater portion of his life in chivalrous conflicts, and who in his old age was wont to rejoice that he had participated in the battle of Lepanto, although he paid for this glory with the loss of his left hand.

The biographers can tell us but little concerning the person or private life of the poet who wrote Don Quixote. We do not lose much by the omission of such details, which are generally picked up from the female gossips of the neighbourhood. They see only the outer shell; but we see the man, his true, sincere, unslandered self.

He was a handsome, powerful man, Don Miguel Cervantes de Saavedra. He had a high forehead, and a large heart. His eyes possessed a wonderful magic; just as there are people who can look into the earth, and see the hidden treasures and the dead that lie buried there, so the eye of the great poet could penetrate the breasts of men, and see distinctly all that was concealed there. To the good his look was as a ray of sunlight gladdening and illuminating the heart; to the bad his glance was a sword, sharply piercing their souls. His searching eyes penetrated to the very soul of a person, and questioned it, and if it refused to answer, he put it to the torture, and the soul lay stretched bleeding on the rack, while perhaps the body assumed an air of condescending superiority. Is it to be wondered at that many formed a dislike for him, and gave him but scant assistance in his journey through life? He never achieved rank or position, and from all his toilsome pilgrimages he brought back no pearls, but only empty shells. It is said that he could not appreciate the value of money, but I assure you he fully appreciated its worth when he had no more. But he never prized it as highly as he did his honour. He had debts, and in one of his writings, in which Apollo is supposed to grant to the poets a charter of privileges, the first paragraph declares: When a poet says he has no money, his simple assurance shall suffice, and no oath shall be required of him. He loved music, flowers, and women, but in his love for the latter he sometimes fared very badly, particularly in his younger days. Did the consciousness of future greatness console him, when pert young roses stung him with their thorns?--Once on a bright summer afternoon, while yet a young gallant, he walked along the banks of the Tagus in company with a pretty girl of sweet sixteen, who continually mocked at his tender speeches. The sun had not yet set, it still glowed with all its golden splendour, but high up in the heavens was the moon, pale and insignificant, like a little white cloud. "See'st thou," said the young poet to his sweetheart, "see'st thou yonder small pale disk? The river by our side in which it mirrors itself seems to receive its pitiful reflex on its proud bosom merely out of compassion, and the curling billows at times cast it disdainfully aside towards the shore. But wait until day fades into twilight; as soon as darkness descends, yonder pale orb will grow brighter and brighter, and will flood the whole stream with its silvery light, and the haughty billows that before were so scornful will then tremble with ecstasy at sight of the lovely moon, and roll rapturously towards it."

The history of poets must be sought for in their works, for there are to be found their most confidential confessions. In all his writings, in his dramas even more than in Don Quixote, we see, as I have before mentioned, that Cervantes had long been a soldier. In fact, the Roman proverb, "Living means fighting," finds a double application in his case. He took part as a common soldier in most of those fierce games of war which King Philip II. carried on in all countries for the honour of God and his own pleasure. The circumstance that Cervantes devoted his whole youth to the service of the greatest champion of Catholicism, and that he fought to advance Catholic interests, warrants the assumption that he had those interests at heart, and hence refutes the widely-spread opinion that only the fear of the Inquisition withheld him from discussing in Don Quixote the great Protestant questions of the time. No, Cervantes was a faithful son of the Roman church, and he not only bled physically in knightly combats for her blessed banner, but his whole soul suffered a most painful martyrdom during his many years of captivity among the Unbelievers.

We are indebted to accident for most of the details of Cervantes's doings while in Algiers, and here we recognise in the great poet an equally great hero. The history of his captivity gives a most emphatic contradiction to the melodious lie of that polished man of the world, who made Augustus and the German pedants believe that he was a poet, and that poets are cowards. No, the true poet is also a true hero, and in his breast dwells that God-like patience, which, as the Spaniards say, is a second fount of courage. There is no more elevating spectacle than that of the noble Castilian who serves the Dey of Algiers as a slave, constantly meditating an escape, with unflagging energy preparing his bold plans, composedly facing all dangers, and when the enterprise miscarries, is ready to submit to torture and death rather than betray his accomplices. The blood-thirsty master of his body becomes disarmed by such grand magnanimity and virtue. The tiger spares the fettered lion, and trembles before the terrible "One-Arm," whom with but a single word he could dispatch to his death. Cervantes is known in all Algiers as "One-Arm," and the Dey confesses that only when he knows that the one-armed Spaniard is in safe-keeping can he sleep soundly at night, assured of the safety of his city, his army, and his slaves.

I have referred to the fact that Cervantes was always a common soldier, but even in so subordinate a position he succeeded in distinguishing himself to such a degree as to attract the notice of the great general, Don John of Austria, and on his return from Italy to Spain he was furnished with the most complimentary letters of recommendation to the king, in which his advancement was most emphatically urged. When the Algerine corsairs, who captured him on the Mediterranean Sea, beheld these letters, they took him to be a person of the highest rank and importance, and hence demanded so large a ransom that notwithstanding all their efforts and sacrifices his family were not able to purchase his freedom, and the unfortunate poet's captivity was thereby prolonged and embittered. Thus the recognition of his merits became an additional source of misfortune, and thus to the very end of his days was he mocked by that cruel dame, the Goddess Fortuna, who never forgives genius for having achieved fame and honour without her assistance.

But are the misfortunes of a man of genius always the work of blind chance, or do they necessarily follow from his inner nature and environment? Does his soul enter into strife with the world of reality, or do the coarse realities begin the unequal conflict with his noble soul?

Society is a republic. When an individual strives to rise, the collective masses press him back through ridicule and abuse. No one shall be wiser or better than the rest. But against him, who by the invincible power of genius towers above the vulgar masses, society launches its ostracism, and persecutes him so mercilessly with scoffing and slander, that he is finally compelled to withdraw into the solitude of his own thoughts.

Verily, society is republican in its very essence. Every sovereignty, intellectual as well as material, is hated by it. The latter oftener gives aid to the former than is generally imagined. We ourselves came to this conclusion soon after the revolution of July, when the spirit of republicanism manifested itself in all social relations. Our republicans hated the laurels of a great poet even as they hated the purple of a great king. They sought to level the intellectual inequalities of mankind, and in as much as they regarded all ideas that had been produced on the soil of the state as general property, nothing remained to be done but to decree an equality of style also. In sooth, a good style was decried as something aristocratic, and we heard manifold assertions: "A true democrat must write in the style of the people--sincere, natural, crude." Most of the Party of Action succeeded easily in doing this, but not every one possesses the gift of writing badly, especially if one has previously formed the habit of writing well, and then it was at once said, "That is an aristocrat, a lover of style, a friend of art, an enemy of the people." They were surely honest in their views, like Saint Hieronymus, who considered his good style a sin, and gave himself sound scourgings for it.

Just as little as we find anti-Catholic, so also do we fail to discover anti-absolutist strains in Don Quixote. The critics who think that they scent such sentiments therein are clearly in error. Cervantes was the son of a school which went so far as to poetically idealise the idea of unquestioning obedience to the sovereign. And that sovereign was the King of Spain at a time when its majesty dazzled the whole world. The common soldier felt himself a ray in that halo of glory, and willingly sacrificed his individual freedom to gratify the national pride of the Castilian.

The political grandeur of Spain at that time contributed not a little to exalt and enlarge the hearts of her poets. In the mind of a Spanish poet, as in the realm of Charles V., the sun never set. The fierce wars against the Moors were ended, and as after a storm the flowers are most fragrant, so poesy ever blooms most grandly after a civil war. We witness the same phenomenon in England at the time of Elizabeth, and at the same time as in Spain there arose a galaxy of poets, which invites the most remarkable parallelisms. There we see Shakespeare, here Cervantes, as the flower of the school.

Like the Spanish poets under the three Philips, so also the English poets under Elizabeth present a certain family likeness, and neither Shakespeare nor Cervantes have claim to originality in our sense of the word. They by no means differ from their contemporaries through peculiar modes of thought or feeling, or by an especial manner of portrayal, but only through greater depth, fervour, tenderness, and power. Their creations are more infused and penetrated with the divine spark of poetry.

But both poets were not only the flowers of their time, but they were also the germs of the future. As Shakespeare, by the influence of his works, particularly on Germany and the France of to-day, is to be regarded as the creator of the later dramatic art, so must we honour in Cervantes the author of the modern novel. I shall allow myself a few passing observations on the subject.

The older novels, the so-called romances of chivalry sprang from the poetry of the middle ages. They were at first prose versions of those epic poems whose heroes are derived from the mythical traditions of Charlemagne and the Holy Grail. The subject was always knightly adventures. It was the romance of the nobility, and the personages that figured therein were either fabulous, fantastic beings, or knights with golden spurs; nowhere an allusion to the people. These romances of knighthood, which degenerated into the most ridiculous absurdities, Cervantes overthrew by his Don Quixote. But while by his satire he destroyed the earlier romances, he also furnished a model for a new school of fiction, which we call the Modern Novel. Such is always the wont of great poets; while they tear down the old, they at the same time build up the new; they never destroy without replacing. Cervantes created the modern novel by introducing into his romances of knighthood a faithful description of the lower classes, by intermingling with it phases of folk-life. This partiality for describing the doings of the common rabble, of the vilest tatterdemalions, is not only found in Cervantes, but in all his literary contemporaries, and among the Spanish painters as well as among the poets of that period. A Murillo, who stole heaven's loveliest tints with which to paint his beautiful Madonnas, painted with the same love the filthiest creatures of this earth. It was perhaps the enthusiasm for art itself that made these noble Spaniards find equal pleasure in the faithful portrayal of a beggar lad scratching his head as in the representation of the Blessed Virgin. Or, perhaps, it was the charm of contrast that led noblemen of the highest rank, a dapper courtier like Quevedo, or a powerful minister like Mendoza, to fill their romances with ragged beggars and vagabonds. They perhaps sought to relieve the monotony of their lofty rank by putting themselves in imagination into a quite different sphere of life, just as we find a similar tendency among some of our German authors, whose novels contain naught else but descriptions of the nobility, and who always make their heroes counts and barons. We do not find in Cervantes this one-sided tendency to portray the vulgar only; he intermingles the ideal and the common; one serves as light or as shade to the other, and the aristocratic element is as prominent in it as the popular. But this noble, chivalrous, aristocratic element disappears entirely from the novels of the English, who were the first to imitate Cervantes, and to this day always keep him in view as a model. These English novelists since Richardson's reign are prosaic natures; to the prudish spirit of their time even pithy descriptions of the life of the common people are repugnant, and we see on yonder side of the channel those bourgeois novels arise, wherein the petty, humdrum life of the middle classes is depicted. The public were surfeited with this deplorable class of literature until recently, when appeared the great Scot, who effected a revolution, or rather a restoration, in novel-writing. As Cervantes introduced the democratic element into romance, at a time when one-sided knight-errantry ruled supreme, so Walter Scott restored the aristocratic element to romance when it had wholly disappeared, and only a prosaic bourgeoisie was to be found there. By an opposite course Walter Scott again restored to romance that beautiful symmetry which we admire in Cervantes's Don Quixote.

I believe that the merits of England's second great poet have never in this respect been recognised. His Tory proclivities, his partiality for the past, were wholesome for literature, and for those masterpieces of his genius that everywhere found favour and imitators, and which drove into the darkest corners of the circulating libraries those ashen-grey, ghostly remains of the bourgeoisie romances. It is an error not to recognise Walter Scott as the founder of the so-called Historical Romance, and to endeavour to trace the latter to German initiative. This error arises from the failure to perceive that the characteristic feature of the Historical Romance consists just in the harmony between the aristocratic and democratic elements, and that Walter Scott, through the re-introduction of the aristocratic element, most beautifully restored that harmony which had been overthrown during the absolutism of the democratic element, whereas our German romanticists eliminated the democratic element entirely from their novels, and returned again to the ruts of those crazy romances of knight-errantry that flourished before Cervantes. Our De la Motte-Fouqué is only a straggler from the ranks of those poets who gave to the world Amadis de Gaul, and similar extravagant absurdities. I admire not only the talent, but also the courage of the noble Baron who, two centuries after the appearance of Don Quixote, has written his romances of chivalry. It was a peculiar period in Germany when the latter appeared and found favour with the public. What was the significance in literature of that partiality for knight-errantry, and for those pictures of the old feudal times? I believe that the German people desired to bid an eternal farewell to the middle ages, but moved with emotion as we Germans are so apt to be, we took our leave with a kiss. For the last time we pressed our lips to the old tombstone. True, some of us behaved in a very silly manner on that occasion. Ludwig Tieck, the smallest boy in school, dug the dead ancestors out of their grave, rocked the coffin as if it were a cradle, and in childish, lisping accents sang, "Sleep, little grandsire, sleep."

I have called Walter Scott England's second great poet, and his novels masterpieces; but it is to his genius only that I would give the highest praise. His novels I can by no means place on an equality with the great romance of Cervantes. The latter surpasses him in epic spirit. Cervantes was, as I have already stated, a Catholic poet, and it is perhaps to this circumstance that he is indebted for that grand epic composure of soul, which, like a crystalline firmament, overarches those picturesque and poetical creations; nowhere is there a rift of scepticism. Added to this is the calm dignity which is the national characteristic of the Spaniard. But Walter Scott belongs to a church which subjects even divine matters to a sharp examination; as an advocate and as a Scotchman he is accustomed to action and to debate, and we find the dramatic element most prominent in his novels, as well as in his life and his temperament. Hence his works can never be regarded as the pure model of that style of fiction which we denominate the Romance. To the Spaniards is due the honour of having produced the best novel, as England is entitled to the credit of having achieved the highest rank in the drama.

And the Germans, what palm remains for them? Well, then, we are the best lyric poets on earth. No people possesses such beautiful songs as the Germans. At present the nations are too much occupied with political affairs, but when these are once laid aside, then let us Germans, English, Spaniards, French, Italians, all go out into the green forests and chant our lays, and the nightingale shall be umpire. I am convinced that in this tournament of minstrelsy the songs of Wolfgang Goethe will win the prize.

Cervantes, Shakespeare, and Goethe form the triumvirate of poets, who, in the three great divisions of poetry, epic, dramatic, and lyric, have achieved the greatest success. The writer of these pages is perhaps peculiarly fitted to sound the praises of our great countryman as the most perfect of lyric poets. Goethe stands midway between the two classes of song-writers, between those two schools, of which one, alas! is known by my own name, the other as the Suabian school. Both have their merits; they have indirectly promoted the welfare of German poetry. The first effected a wholesome reaction against the one-sided idealism of German poetry, it led the intellect back to stern realities, and uprooted that sentimental Petrarchism that has always seemed to us as a Quixotism in verse. The Suabian school also contributed indirectly to the weal of German poetry. If in Northern Germany strong and healthy poetical productions came to light, thanks are perhaps due to the Suabian school, which attracted to itself all the sickly chlorotic, mawkishly-pious, clumsy votaries of the German muse. Stuttgart was the fontanel, as it were, for the German muse.

While I ascribe the highest achievements in drama, in romance, and in lyric poetry to this great triumvirate, far be it from me to depreciate the poetical merits of other great poets. Nothing is more foolish than the query, "Which poet is greater than the other?" Flame is flame, and its weight cannot be determined in pounds and ounces. Only a narrow shopkeeper mind will attempt to weigh genius in its miserable cheese scales. Not only the ancients, but some of the moderns, have written works in which the fire of poetry burns with a splendour equal to that of the masterpieces of Shakespeare, Cervantes, and Goethe. Nevertheless, these names hold together as if through some secret bond. A kindred spirit shines forth from their creations, an immortal tenderness exhales from them like the breath of God, the modesty of nature blooms in them. Goethe not only constantly reminds one of Shakespeare, but also of Cervantes, and he resembles the latter even in the details of style, and in that charming prose diction which is tinged with a vein of the sweetest and most harmless irony. Cervantes and Goethe resemble each other even in their faults, in diffusiveness of style, in those long sentences that we occasionally find in their writings, and which may be compared to a procession of royal equipages. Not infrequently but a single thought sits in one of those long, wide-spreading sentences that rolls majestically along like a great, gilded court-chariot, drawn by six plumed steeds. But that single idea is always something exalted, perhaps even royal.

My remarks concerning the genius of Cervantes and the influence of his book have been necessarily scant. Concerning the true value of his romance from an artistic standpoint, I must express myself still more briefly, as otherwise questions might arise which would lead to wide digressions into the sphere of æsthetics. I may only call attention in a general way to the form of the romance, and to the two figures that constitute its central point. The form is that of a description of travels which has ever been the most natural for this class of writings. I am reminded of The Golden Ass of Apuleius, the first romance of antiquity. Later poets sought to relieve the monotony of this form through what we to-day call fabliaux. But on account of poverty of invention the majority of romance writers have borrowed each other's fables; at least, part have always used the same tales, making but slight variations. Hence, through the resulting sameness of characters, situations, and complications, the public became at last somewhat wearied of romance-reading. To escape from the tediousness of hackneyed tales and fables, they sought refuge in the ancient, original form of narratives of travels. But this form will again be wholly supplanted just as soon as some creative genius shall arise with a new and original style of romance. In literature, as well as in politics, all things are subject to the law of action and reaction.

As regards the two figures that are called Don Quixote and Sancho Panza, that so constantly burlesque, and yet so wonderfully complement each other, so that together they form the one true hero of the romance,--these two figures give evidence equally of the poet's artistic taste and of his intellectual profundity. If other authors, in whose romances the hero journeys solitary and alone through the world, are compelled to have recourse to monologues, letters, or diaries in order to communicate the thoughts and emotions of their heroes, Cervantes can always let a natural dialogue arise; and, inasmuch as the one figure always parodies the other, the author's purpose is the more clearly shown. Manifold have been the imitations of this double figure which lends to the romance of Cervantes such an artistic naturalness, and out of which, as from a single seed, has grown the whole novel, with all its wild foliage, its fragrant blossoms, its glowing fruits, its apes and marvellous birds that cluster amid its branches, resembling one of those giant trees of India.

But it would be unjust to charge all this to a servile imitation; on the surface, as it were, lay the introduction of two such figures as Don Quixote and Sancho Panza, of which the one, the poetical nature, seeks adventures, and the other, half out of affection, half out of selfish motives, follows through sunshine and rain, as we often meet them in real life. In order to recognise this couple anywhere, under the most varied disguises, in art as well as in life, one must keep in view only the essential, the spiritual characteristics, not the incidental or external. I could offer innumerable instances of this. Do we not find Don Quixote and Sancho Panza clearly repeated in Don Juan and Leporello, and to a certain degree also in the persons of Lord Byron and his servant Fletcher? Do we not recognise these two types and their changed relations in the figures of the Knight von Waldsee and his Caspar Larifari, as also in the form of many an author and his publisher? The latter clearly discerns his author's follies, but in order to reap pecuniary profit out of them, faithfully accompanies him in all his ideal vagaries. And Master Publisher Sancho, even if at times he gains only buffets in the transaction, yet always remains fat, while the noble knight grows daily more and more emaciated. But not only among men, but also among women, have I often met the counterparts of Don Quixote and his henchman. I particularly remember a beautiful English lady, an impulsive, enthusiastic blonde, who, accompanied by her friend, had run away from a London boarding-school, to roam the wide world over in search of a noble, true-hearted lover, such as she had dreamed of on soft moonlight nights. Her friend, a short, plump brunette, also hoped through this opportunity to gain, if not so rare and high an ideal, at least a husband of good appearance. Still do I see her, with her slender figure, and blue, love-longing eyes, standing on the beach at Brighton, casting wistful glances over the billowy sea towards the French coast; meanwhile her companion cracked hazel-nuts, munched the sweet kernels with relish, and threw the shells into the water.

And yet neither in the masterpieces of other artists, nor in nature herself, do we find these two types in their varying relations so minutely elaborated as in Cervantes. Every trait in the character and appearance of the one answers to a contrasting, and yet kindred, trait in the other. Here every detail has a burlesque signification; yes, even between Rosinante and Sancho's grey donkey there exists the same ironic parallelism as between the squire and the knight, and the two beasts are made to convey symbolically the same idea. As in their modes of thought, so also in their speech, do master and servant reveal a most marvellous contrast, and I cannot here omit to refer to the difficulties with which the translator has had to contend in order to reproduce in German the homely, gnarled dialect of our good Sancho. Through his blunt, frequently vulgar speeches, and his fondness for proverbialising, our good Sancho reminds us of King Solomon's fool, and of Marculfe, who, also, in opposition to a somewhat pathetic idealism, expresses in short and pithy sayings the practical wisdom of the common people. Don Quixote, on the contrary, speaks the language of culture, of the higher classes, and in the solemn gravity of his well-rounded periods, he fairly represents the high-born Hidalgo. At times his sentences are spun out too broadly, and the knight's language resembles a haughty court dame, attired in a much bepuffed silken robe, with a long rustling train. But the graces, disguised as pages, laughingly carry the tips of this train, and the long sentences end with the most charming turns.

The character of Don Quixote's language and that of Sancho Panza may be briefly summarised in the words: the former, when he speaks, seems always mounted on his high horse; the latter, as if seated on his humble donkey.

It is remarkable that a book which is so rich as Don Quixote in picturesque matter has as yet found no painter who has taken from it subjects for a series of independent art works. Is the spirit of the book so volatile and fanciful that the variegated colours elude the artist's skill? I do not think so, for Don Quixote, light and fanciful as it is, is still based on rude, earthly realities, as must necessarily be the case to make it a book of the people. Is it, perhaps, because behind the figures brought before us by the poet, deeper ideas lie hidden, which the artist cannot produce again, so that he can give only the outward features, salient though they be, but fails to grasp and reproduce the deeper meaning?

[The end]
Heinrich Heine's essay: Don Quixote

________________________________________________



GO TO TOP OF SCREEN