Chapter Two: Ridicule or Empathy . . . or somthing else?

Gabriel Garcia Marquez has said of DQ - it contains everything. 

I would add, it contains even the omissions.

By this, I mean, the grand failings of DQ, later writers either repeated or tried to overcome. 

Chapter two offers the evidence for Cervantes omitting to show, telling instead. This is an epic failing - repeated or corrected in subsequent novelists. 

But Cervantes got there first.

. . . le asaltó un pensamiento terrible, y tal, que por poco le hiciera dejar la comenzada empresa; y fue que le vino a la memoria que no era armado caballero, y que, conforme a ley de caballería, ni podía ni debía tomar armas con ningún caballero

Being translated:

. . . he was struck by a horrible thought, which almost made him abandon this business at its beginning; it entered his mind that he had not been knighted and, according to the law of the horse-cult he could not - nor should he - take up arms against another knight.

I probably won't again translate caballería as 'horse-cult' - but the idea, obvious enough - caballo / caballeria - is that the fanciful knighthood enterprise is predicated on ownership of a quality horse and preoccupation with horsemanship and its attendant mystique; all this being limited to wealthy young men, with time on their hands, since serfs and underpaid, overworked laborers did all the work their fathers required.

But note that Cervantes simply tells us what DQ has going on his his head. Other writers would expand this conceit of description into a genre all its own: stream of consciousness.

But even in no-show-all-tell, Cervantes has his mojo going. It is a crazy idea that almost derails DQ's first crazy adventure. Are we surprised that a third insane notion impels DQ forward?

. . . Estos pensamientos le hicieron titubear en su propósito; mas, pudiendo más su locura que otra razón alguna, propuso de hacerse armar caballero del primero que topase . . . 

These thoughts made him hesitant about his project, but since his insanity trumped any rational ideas, he decided to have himself dubbed a knight by the first one he bumped into.

Is this trinity of insane notions part of Cervantes' grand satire? Is Cervantes suggesting we see DQ as a messianic figure, inhabiting an alternative universe created by his insanity?

You tell me. 

Thank goodness, the story picks up. 

DQ does go forth on Rocinante, talking to himself, and wandering all day, without food or rest.

"¿Quién duda, sino que en los venideros tiempos, cuando salga a luz la verdadera historia de mis famosos hechos . . . 

¡Dichosa edad y siglo dichoso aquel adonde saldrán a luz las famosas hazañas mías, dignas de entallarse en bronces, esculpirse en mármoles y pintarse en tablas, para memoria en lo futuro! . . .

Con éstos iba ensartando otros disparates . . . y con esto caminaba tan despacio, y el sol entraba tan apriesa y con ardor que fuera bastante a derretirle los sesos si algunos tuviera. . . .

. . . él anduvo todo aquel día, y al anochecer, su rocín y él se hallaron cansados y muertos de hambre ; y que, mirando a todas partes por ver si descubriría algún castillo o alguna majada de pastores donde recogerse, y adonde pudiese remediar su mucha necesidad, vio no lejos del camino por donde iba una venta, que fue como si viera una estrella que, no a los portales, sino a los alcázares de redención le encaminaba . Diose priesa a caminar, y llegó a ella a tiempo que anochecía.

Translation:

"Who can doubt that in fortunate future epochs, when the accurate narrative of my famous deeds is revealed . . . 

Blest age! Fortunate century! When my famous deeds will be revealed! Worthy of brass inscription! Carved in marble! Painted on tablets! Commemorated for ever!" . . . 

. . . he continued on, stringing together other absurdities . . . which caused such slow progress; but the sun rose so rapidly and so hot it would have melted his brains, if he had any . . .

. . . he rode all that day until evening when both he and his horse discovered themselves exhausted and starved. Looking around, to see if he could spot a castle or even a shepherds' shack where he might collect himself and remedy his needs, just off the road he was on, he spotted a roadhouse. It was as if he were following a star, not merely to a welcoming door but to the haven of redemption, which he had been seeking. Quickening his pace, he reached her [ the female redención - I think] just at nightfall.

Cervantes takes pains to describe the suffering of his delusional knight. Do we feel his pain? Is it enough to prompt sympathy? Empathy? 

I don't think Cervantes is interested in inspiring a reader merely to feel ridicule. You don't need to invent the modern novel form to do only that.