Before taking a nap, DQ invokes the story of a Muslim princess:
Along the way, DQ insists that his rescuer is an imagined uncle and renowned knight-errant; but check out what he says about his fictional Dulcinea.
Sepa vuestra merced, señor don Rodrigo de Narváez, que esta hermosa Jarifa que he dicho es ahora la linda Dulcinea del Toboso por quien yo he hecho, hago y haré los más famosos hechos de caballerías que se han visto, vean ni verán en el mundo .
That your mercy, señor don Rodrigo de Narváez may know that the beautiful Jarifa, of whom I have spoken is now the beautiful Dulcinea del Toboso on whose behalf I have done, am doing and will continue to do the most famous knightly deeds that have ever been seen, are being seen or ever will be seen in the world.Jarifa is a fictional, beautiful Moorish princess.
Jarifa appears in an anonymous, so called, Moorish novel - novela morisca, entitled Historia del Abencerraje y de la hermosa Jarifa (Toledo, 1561).
What are we to make of this twist? - a delusional Spanish knight announces that NOW his own highest, most beautiful patroness is a version of a Muslim princess.
Cervantes is creating circles within circles.
His fictional creation, the hidalgo Quijana takes an assumed identity, don Quijote, who believes he has become the inspired protector of a Spanish princess, who is actually a farm girl that Quijana had a crush on. Now we are told, Dulcinea is a stand-in for a fictional Muslim princess. But Cervantes' hero, Quijana-Quijote, is insane.
We are not going to dwell on the Jarifa-Dulcinea association since the story does not, but we at least take note.
For a transport into a mood closer to all of these mythical characters, you are invited to listen to an annoyingly brief cut from #10 on the album El QUIJOTE,Romances, canciones y Danzas.
(You can hear the complete recording elsewhere, such as on "I Heart Radio" with a membership.)
Back to the plot:
DQ's peasant neighbor manages to get him on his feet and mounted up and then delivers him to his hacienda, where the rescuer, Pedro Alonzo, overhears the curate, the barber, the housekeeper and DQ's niece in a state of worry about the disappearance of their hidalgo.
The housekeeper - ama de casa - called here, ama, blames DQ's habits of reading as the cause of his insanity. She fetches a saucer of holy water and a sprinkler, so the burning of the heretical books may be sanctioned by holy ritual.
The ama may have a point about the drastic influence of the books on DQ's mental state.
DQ's niece chimes in - after a long bout of reading, DQ would slash the wall with his sword, reaching a state of exhaustion and shouting that he had just dispatched "giants" with the evidence being his sweat, which he took for blood seeping from his wounds. DQ would then make himself worse by drinking a large amount of cold water.
Pedro Alonzo, neighborly rescuer of DQ, having arrived outside the hacienda with DQ loaded on Rocinante, overhears this discussion. He enters the conversation by announcing the return of the knight-errant and himself as a knight of French legend.
DQ refuses to answer questions but insists that he needs medical attention; DQ ask for Urganda - fictional enchantress who came to the aid of the iconic knight-errant Amadis de Gaula. The housekeeper refuses this request, saying no one needs a hurgada, a meddler (I think, is what is meant here.)
Medical aid denied him, DQ wishes only to eat and then sleep, having dispatched a number of "giants" before suffering injury occasioned by the antics of his horse.
¿Jayanes hay en la danza? Para mi santiguada que yo los queme mañana antes que llegue la noche.
"Are there giants (jayanes, wild men) in the dance?"asks the curate. If so, then books will need to be burned:
"By my sign of the Cross, I will burn them tomorrow before dusk."
With DQ tucked in, the discussion continues, in Chapter Six, not about whether but which books are tossed out on to the patio to be burned.