The Grand Scrutiny of Quijote's Library

Capítulo VI. Del donoso y grande escrutinio que el Cura y el Barbero hicieron en la librería de nuestro ingenioso hidalgo

Chapter VI. Concerning the entertaining and important scrutiny the curate and the barber conducted in the library of our ingenious noble.
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While DQ slept, his 'friends' the priest and the barber discuss the pros and cons of burning his books, with rationales offered for consignment to the flames or for a reprieve for a title here and there. 

The escrutinio takes a while; DQ's library contained more than a hundred large volumes, along with a number of smaller ones. 

Here are the absurd reasons which the curate and the barber, the housekeeper and DQ's niece come up with to justify the burning of books. 

We even pass over the most obvious reason not to destroy the library - it does not belong to the destroyers.

- show no mercy, but look at the titles first

- the four volumes of Amadis de Gaula are the most influential of knight-errant books, so spare them or, as the barber put it: 

es el mejor de todos los libros que de este género se han compuesto, y así como a único en su arte se debe perdonar

- books written in imitation of Amadis ought to be burned, as imitations, as the priest intoned:

que no le ha de valer al hijo la bondad del padrethe merit of the father ought not be assigned to the son 

- two books by the same author? One might be truthful and the other a lie no, but we don't know which is which

en verdad que no sepa determinar cuál de los dos libros es más verdadero, o por decir mejor, menos mentiroso 

- stiff, dry style? Burn it! 

- a very old book? Burn it! 

- a book with the word "Cross" in the title? Trick of the devil, burn it! 

- books that may have influenced reputable Christian writers? Set them aside, so long as they are not translations 

- translations? - que habla en otra lengua que la suya, no le guardaré respeto alguno - to one who uses a language other than his own, I won't show the least respect.

- books about French affairs, set them aside, except titles disliked by the curate, as he put it: 

Digo, en efecto, que este libro y todos los que se hallaren que tratan destas cosas de Francia , se echen y depositen en un pozo seco, hasta que con más acuerdo se vea lo que se ha de hacer dellos, exceptuando a un Bernardo del Carpio , que anda por ahí y a otro llamado Roncesvalles , que éstos en llegando a mis manos, han de estar en las del ama, y dellas en las del fuego sin remisión alguna.

- the barber defers to the curate, as knowing which titles are true to the Faith

lo tuvo por bien y por cosa muy acertada, por entender que era el cura tan buen cristiano y tan amigo de la verdad, que no diría otra cosa por todas las del mundo.

- book with "olive" in the title is to be burned, but one by the same author but without "olive" and about England can be saved, since Alexander the Great saved a book similar to Homer, and besides, it is a witty book and a king of Portugal might be the author - 

Esa oliva se haga luego rajas y se queme, que aun no queden della las cenizas; y esa palma de Ingalaterra se guarde y se conserve como a cosa única, y se haga para ella otra caja como la que halló Alejandro en los despojos de Dario, que la diputó para guardar en ella las obras del poeta Homero . Este libro, señor compadre, tiene autoridad por dos cosas: la una porque él por sí es muy bueno, y la otra porque es fama que le compuso un discreto rey de Portugal.

- any titles we don't burn must be set aside, but not read by anyone -

compadre, en vuestra casa, mas no los dejéis leer a ninguno.

- what the Hell! Let's burn all the big volumes! as the barber instructs the housekeeper:  

mandó al ama que tomase todos los grandes y diese con ellos en el corral. 

         - wait, says the curate, here is a title I know.

¡Válame Dios!, dijo el cura dando una gran voz, ¿Que aquí esté Tirante el Blanco? Dádmele acá, compadre, que hago cuenta que he hallado en él un tesoro de contento y una mina de pasatiempos.

which has in it a big fight with a Mastiff plus witty sayings as well as commentary by a woman named Placerdemivida - my life's pleasure; we will hang on to this one. But 

que le echaran a galeras por todos los días de su vida. Llevadle a casa y leedle, y veréis que es verdad cuanto dél os he dicho. 

Enslave the author for writing it but take it home and read it and you will see what I mean -  

- what about small books of poetry? They have done no harm like the knight-errant books 

-Éstos no merecen ser quemados como los demás, porque no hacen ni harán el daño que los de caballerías han hecho

- but they might! What if DQ reads them and wants to be a shepherd or, worse, a poet? Right. Let's keep the poetry books but get rid of most of the poems in them

- toss out this one, keep that one 

- this absurd, droll book I will take home and read, as I like this sort of thing 

- give these to the "secular arm" of the ama and let's not bother to find out why, 'cause I am getting tired 

- keep this one, because I know the author 

- same for this one, even though the contents are so-so.

The curate and the barber came to Galatea, a title by Cervantes (his first, c 1585):

- I know this guy, more of reverses than verses and no conclusion; shut this book up in your house, don't let anyone read it and let's wait for volume two. (Cervantes' jokes here include: the poems are better than the stories; there would be no volume two to Galatea, but there would be, to DQ.)

Then three books of "Castelian heroic verse," the best of their kind, so keep them as rich treasures.

- the barber wanted to throw away the rest, as he was tired of the game but the curate saw one more he admired, so it was set aside.

Cervantes has laid out a long list of stupid reasons for burning books. If the reasons can be applied to contemporary circumstances, then the reasons are 'modern.' 

But hold on a minute.

The send-up of these 'modern' reasons, appeared in post-Tridentine Spain in 1605.

Employing  ridicule, Cervantes implies that ceremonial book-burning was accompanied by objections - even if no one dared to utter them, since to do so would risk escrutinio before the Inquisition.

Cervantes is probably not correctly classified as a 'modern' writer. At least, hold off for a bit with the categories, because Cervantes is crafting a story, which resonates not just in his own specific time and place.

From the point of view of rational decision-making, all of the the reasons offered for book-burning are absurd; this goes for even the occasional reprieve. 

Unless someone wants to argue that reasoning, i.e., reasonable objections to the burning of books did not occur in early 17th century Spain, then neither the ridiculous reasons nor the category of objections to book burning are, per se, 'modern' - they are simply objections.

I think it is a given that objections to book burning accompany the irrational decision to burn books, whenever a book is burned. 

Objections accompany the deed, just as do the reasons which justify the deed. These associations are as timeless as much as they can be said to be modern.

The event of the act is what matters to Cervantes; never mind the category - modern, medieval - assigned to the deed by whomever cares to parse the event into categories.

If Cervantes' concern was to object to book-burning in his own time, then why craft a fictional, that is, a metaphorical account? 

Cervantes, like all story tellers, is linking a past (not necessarily his own) with a future (not his either) by crafting imaginative present possibilities as links between past and future. 

Cervantes gets a lot of mileage from humor, in his depictions. Mark Twain is an important Cervantes heir.

Ch 5 (cont) Dulcinea as Jarifa? Well, yes & "Jayanes in the dance, too"

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.