The el curioso impertinente cervantes pdf of Don Quixote has two senses here. On the one hand it refers to psychology applied to Don Quixote, and on the other, to the psychology we can extract from him. La psicología del Quijote tiene aquí dos sentidos.
Por un lado se refiere a la psicología aplicada al Quijote y, por otra, a la psicología sacada de él. The original Spanish version of this paper has been previously published in Psicothema, 2005, Vol. With this in mind, we would have to recognize without scientific affectation the literary condition of the psychological subject. The ambiguity of the title to this work serves for a consideration of psychology both applied to Don Quixote and extracted from it, though it should certainly be seen more as a psychological essay than as a study of Cervantes. Don Quixote, which has indeed been given widespread consideration elsewhere. In fact, the most common are psychoanalytical interpretations. At all events, the psychology applied here pertains to the cultural context in which the story develops and its literary construction.
The cultural context immediately situates us in the melancholy of Cervantes and of his times, while the literary construction leads us to consider the theory of the novel and the author himself. It is precisely this aesthetic nature that allows the construction of a style or, as we shall see later, a character. In the case of Don Quixote, this style or form adopted by his melancholy is taken chiefly from Amadis de Gaule, his model. Consequently, mimetic melancholy, while it may involve imitation, is all the same a true melancholy.
But melancholy in itself does not mean madness, and Don Quixote was mad. Where Don Quixote goes too far is in taking such fabulous models and trying to imitate them literally. And he tried to do so, moreover, in an artistic way, leading his life like a novel. Even so, in living his life like a work of art, Don Quixote is doing no more than following the aesthetic precepts of the times. How can we characterize the madness of Don Quixote? Indeed, such analyses are somewhat ridiculous. In fact, while all the characters in the novel may say that Don Quixote is mad, few are free of some degree of madness, and those who are free of it are guilty of a vulgar sensitivity.
Who sets the tone for normality? Sancho, apart from becoming Quixotized, is himself a carnivalesque figure. As for the priest, the barber and the bachelor, though reasonable men, they trust more in fiction to save Don Quixote than in sound reason. The psychology that emerges from Don Quixote already has a name. As regards the personality as a work of art, we should not harbour aesthetic prejudices.
And this, for a start, raises two problems. However, what most concerns us here is the first problem, that of the conjugation of the character with the person in the novel, even if the eventual interest lies in perceiving the constructive principle of the person in life. Given that we have to concern ourselves with Don Quixote, what we start out with is the nobleman Alonso Quijano, the origin of whose name we know little, not to mention his life. As Don Quixote would say, each is the child of his works. The comfortably settled nobleman Alonso Quijano begins by feigning the person he wants to be. He thus gives himself a new name and dons the armour that invests him as the knight-errant Don Quixote. It is worth pointing out in this regard that as the story progresses, Don Quixote is more deceived by others than by his own madness.
Whatever the case, this feigning and pretence in Don Quixote do not cancel out the original person of Alonso Quijano, whom if anything they transform, as I shall argue. First of all, it should be borne in mind that Alonso Quijano remains present. However, the ups and downs of the character do not leave the person unaffected. The feigning and pretence lead to the forging of a change that transforms the person in such a way that nothing is any longer like before. Although, in the end, Don Quixote loses the wager of his life, he will not turn back into the same Alonso Quijano. Formulated in somewhat paradoxical terms, the task would be to try to be what one appears to be and, at the same time, to try to become what one is. Quixotic Principle as a general principle of the modern individual.
As pointed out elsewhere, the Quixotic Principle functions in various ways. Indeed, the female Quixote would become a literary figure, comparable to that of Don Quixote himself. Metaphysics and, in general, great narratives, would constitute another type of chivalric novel. The diversity of identities and styles current today gives rise to a multitude of Quixotic figures, and one could even say of personalities as works of art. According to the sense given here to the Quixotic Principle, nobody can escape from being Quixote. Even so, the difference may lie in the fact that one type of salvation may not be the same as another.
All will depend on the project undertaken and the effort invested. Cervantes-Don Quijote, una caso de dialéctica existencial. Don Quijote como forma de vida. Las enfermedades del alma en la España del Siglo de Oro. International Journal of Psychoanalysis, 65, 141-153.
Ensayos de cine, filosofía y literatura. El caballero de la armadura oxidada. Ensayos sobre el tono y la actitud cervantinos. Un análisis cultural de la imagen femenina. La princesa que creía en los cuentos de hadas. Examen de ingenios para las ciencias.
Mandes and luxt: a psychoanalytical approach to Don Quixote. Cervantes, el quijotismo y la posterioridad. Don Quijote, Don Juan y La Celestina. Quijotes 400 años después contra toda injusticia. Ideología y literatura en la novela cervantina. Las dos locuras de Don Quijote. Personality as a work of art.