Cortes Love In Quijote

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Cortes love in Quijote

Cortes love was a philosophy that fit the mystical and the Platonic in terms of the idealization of love relationships. It started in the Middle Ages and extended in Europe through the epic poems of the minstrels and troubadours. It is an indispensable element of the books of cavalries, and therefore, Cervantes did not help but turn it into a crucial element within the madness of the Hidalgo that stars in his work. Some of the characteristics that form the idealized love vision were the perfect lady, unconditional love, love suffering, and even death for love.

Cervantes developed his work during the 16th century, and not only wrote the novel of the famous Hidalgo de la Mancha, he also wrote a pastoral novel, in addition to Petrarchist poems and even admired personalities such as Garcilaso, Boscán, Castillejo or Figueroa. Although the other works that he wrote detach the essence of polite love, when in 1605 he published the ingenious Hidalgo Don Quijote de la Mancha, he made it clear that he was totally aware of the elements that occupied a novel of cavalries, but did nothing but ridicule them ofThe most moral way by seeing the nonsense in which their foundations lay.

For the analysis of this aspect, we find in chapter XXV of the first part some of the criticism of a burlesque nature that refer to courteous love. Don Quijote wants to imitate Amadís de Gaula, who says he went crazy and made a thousand and an atrocities for the love of his lady. Here we see that the Hidalgo is aware that he must imitate those who were great gentlemen admired throughout the world. He is aware that the agitated, the furious and desperate to respond to the alleged insults of his lady must. However, Sancho questions him that he has no news of such acts of Dulcinea to what Don Quixote replies:

“There is the point, and that is the fineness of my business, to go right crazy a walking gentleman, neither taste nor merit: the touch is to disatisfy without coming to the story and to imply my lady that if I dryThis, what will I not do in wet? (…) 

The previous fragment shows us the folly that the Hidalgo suffers for representing the values and actions that a gentleman would do, he must go crazy without reason to idealize his love, which is unconditional and without limits. He even says that if a gentleman went crazy for some particular reason he would not have a merit since grace is to fade without reason to demonstrate as far as his chivalrous personality can reach.

Later, Don Quijote decides to send a letter to Dulcinea, who must give it to Sancho. Sancho realizes that he knows the identity of Dulcinea del Toboso, the authentic name of Aldonza Lorenzo and describes it as follows:

“-I know her well," said Sancho-, and I know how to say the iron in the game of the bar as the most forced zagal in all the town. Live the giver who is a girl with arrests, made and right and with chest hair! And that you can get the walking knight out of any squeeze or for walking for a lady. Daughter, and what Redeños has, and what voice!"

The description provided by Sancho, is contrary to which the reader has imagined throughout history. The reader thinks of a lady who meets the stereotypes of the courteous lady. However, Cervantes takes a complete turn to the feminine ideal of ladies in the books of cavalry. Dulcinea del Toboso seems to be really Aldonza Lorenzo, a peasant of robust features, strong and closer to masculinity represented by a farmer than for delicacy, the unattainable beauty of a woman from the urban elite.

Our gentleman decides to send him a letter, which he writes in an outdated record and used by the walking knights whom he wishes to imitate:

“Sovereign and high lady:

The wounded of a tips of absence, and the llagado of the fabrics of the heart, sweet Dulcinea del Toboso, sends you the health that he does not have. If your fermosura despises me, if your value is not in my pro, if your late. My good squire Sancho will give you a whole relationship, oh beautiful ungrateful, beloved enemy of mine!, in a way that is for your cause. If you like to help me, I am yours;And if not, do what comes to you in pleasure, that with ending my life I will have satisfied your cruelty and my desire.

Yours to death,

THE KNIGHT OF THE SAD FIGURE ”3

Don Quijote uses in his letter elements of the gallant, such as: "Sovereign and high lady", "Amada enemy of mine", "yours to death", among others. Generally, the entire letter is full of vocabulary and topics used by the troubadours that extol the figure of the lady, it is unattainable, it is an enemy for him and he is completely rendered at his feet to the point of dying for love. Cervantes uses this element to ridicule foolishness, and the lack of credibility of loving without hope of realization, reaching the absurdity of dying from the contempt and the love he feels. In addition to mocking the very courteous love of the books of chivalry, it manages to morally banish the topics towards the genre, ending the idealization of this. When Cervantes wrote Don Quixote, already Hurtado de Mendoza or Baltasar de Alcázar had composed poems of jocular tone in which a clear demystification of love was appreciated.4

In this way, the burlesque madness of Don Quijote covers all the points that concern the demystification of polite love. Add the actions that Quijote believes that he must do to be a great gentleman: he must give his blessing to Sancho, before leaving, in addition to performing follies to record and Sancho can tell them to Dulcinea. Sancho is no less in this story, because although it is the voice that speaks for reality, the current follows his master establishing himself in the place where Don Quixote is, in the most remote madness that invades them. It is not only to Sancho who our protagonist infects his madness, but throughout the novel we find several characters who end up following the current, not in a convinced way but getting into the game and getting involved just like Don Quixote. In this way, the disease caused by the books of cavalries, and the damage they have done, as well as what Cervantes intended by writing their work is visible.

Already in chapter XXXI Sancho returns from the Toboso to tell his gentleman the meeting with Dulcinea. The meeting cannot be less than a parody of the encounter between a lady and the squire of a gentleman. Dulcinea is screening two bushels of wheat next to her house, and is indifferent to the letter. In addition, it does not read the letter since it does not know how to read or write and break it in pieces. This attitude is totally improper of the reaction that a lady of the Court would have when receiving a letter from a walking gentleman. Other typical aspects are disassembled at the reception of the letter. The lady does not give her jewel to Sancho, custom between gentlemen and ladies;She rather gives her bread and cheese. Even so, Don Quijote is totally fortunate with the encounter and justifies each of the details that his messenger transmits, raising to his lady to the highest levels of goodness or beauty.

Another element that appears in this chapter is the mention of the alleged magician that protects the gentleman. Don Quijote says that it is surprised that Sancho has taken so little to go and return from the Toboso and attribute to a magician the speed of the trip:

"That nigromant magician who has my things and is my friend, because there is necessarily.

Clearly, he is constantly cheating. It is no longer a distortion of reality but a story invented from what he would like to have happened. He is a walking gentleman and to be, he must meet these requirements, there must be a magician, and if there is not a gentleman, so there is. The Magician has helped Sancho quickly arrive in Dulcinea and without him the walking knights could not help so many dangers.

In conclusion, since the purpose of the work was none other than that of ridiculing and parodying the books of cavalries, our author misrepresent all the elements that perish in a walking gentleman about the courts managing to link them all at the same time as the parody anddisavow. Don Quijote is in the limbo of being a walking gentleman and being a crazy old man who thanks to one’s madness becomes what he dreams of being: a walking knight. In this reality that he creates, he invades his atmosphere and lives false and at the same time real events within his reality.

As for the polite love, it does not fulfill any characteristic of those that would be presented in a book of cavalries except that of loving without any reason, the implausimility of the unrealizable feeling and, it is exactly that ends by giving credibility to history. The livelihood of the relationship with Dulcinea is what maintains the madness and love of Don Quijote because if it was already absurd in a book of cavalry, he can continue to be in a novel that is dedicated to mocking him in addition to serving as a liaison and literary weapon.

Bibliography:

  • Don Quixote de la Mancha, ed. by Andrés Trapiello (Barcelona: Destination Editions, 2017) Cap. XXV p. 223.
  • El Quijote, Ana Isabel Espejo Madrigal (VIII- Cervantist Acts; Cervantes Virtual Center) pages 195-204, El Toboso, 1998.

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