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# | Start | End | Original | Translated |
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1 | 00:00:11,421 | 00:00:14,569 | This is the frontispiece of the English edition from 1617. | This is the frontispiece of the English edition from 1617. |
2 | 00:00:15,058 | 00:00:19,183 | And this is the first depiction of Don Quixote and Sancho Panza. | And this is the first depiction of Don Quixote and Sancho Panza. |
3 | 00:00:21,856 | 00:00:26,770 | Picasso's Don Quixote from 1955, one of the more recent ones. | Picasso's Don Quixote from 1955, one of the more recent ones. |
4 | 00:00:28,991 | 00:00:33,624 | The most famous one, however, by Gustav Doré, dates back to 1863. | The most famous one, however, by Gustav Doré, dates back to 1863. |
5 | 00:00:35,985 | 00:00:39,723 | Although these three portrayals differ, they agree upon the essentials. | Although these three portrayals differ, they agree upon the essentials. |
6 | 00:00:40,501 | 00:00:42,501 | Here's what Cervantes says: | Here's what Cervantes says: |
7 | 00:00:42,973 | 00:00:46,149 | The age of our Hidalgo flirted with fifty. | The age of our Hidalgo flirted with fifty. |
8 | 00:00:46,434 | 00:00:51,457 | He was of sturdy constitution, only a bit thin, lean of face. | He was of sturdy constitution, only a bit thin, lean of face. |
9 | 00:00:52,007 | 00:00:56,780 | Furthermore, he was tall with wrinkled arms and legs, | Furthermore, he was tall with wrinkled arms and legs, |
10 | 00:00:57,120 | 00:01:01,330 | a shrunken face and somewhat crooked eagle nose | a shrunken face and somewhat crooked eagle nose |
11 | 00:01:01,849 | 00:01:04,686 | with a large and droopy moustache. | with a large and droopy moustache. |
12 | 00:01:06,040 | 00:01:08,063 | There isn't a single word about a beard. | There isn't a single word about a beard. |
13 | 00:01:08,607 | 00:01:12,169 | Rather an omission than an actual proof of beardlessness. | Rather an omission than an actual proof of beardlessness. |
14 | 00:01:12,546 | 00:01:15,514 | In fact, there is a passage in the second book where we can see him | In fact, there is a passage in the second book where we can see him |
15 | 00:01:15,834 | 00:01:19,163 | having his beard washed by the dutchess's maids | having his beard washed by the dutchess's maids |
16 | 00:01:19,600 | 00:01:22,358 | in a joyful atmosphere instead of having it shaved. | in a joyful atmosphere instead of having it shaved. |
17 | 00:01:22,685 | 00:01:25,034 | This scene, along with the fashion of the time | This scene, along with the fashion of the time |
18 | 00:01:25,457 | 00:01:27,638 | and the portrait of the author himself | and the portrait of the author himself |
19 | 00:01:28,180 | 00:01:31,539 | speak in favour of a bearded Don Quixote. | speak in favour of a bearded Don Quixote. |
20 | 00:01:38,188 | 00:01:40,188 | Let's follow the chronology: | Let's follow the chronology: |
21 | 00:01:40,682 | 00:01:44,736 | These popular engravings by Jacques Lagniet, which date from 1640, | These popular engravings by Jacques Lagniet, which date from 1640, |
22 | 00:01:45,349 | 00:01:48,673 | are seen as legitimate predecessors of comics, | are seen as legitimate predecessors of comics, |
23 | 00:01:49,489 | 00:01:53,115 | the only difference being the text in form of a comment instead of a dialog. | the only difference being the text in form of a comment instead of a dialog. |
24 | 00:01:53,673 | 00:01:58,633 | On the top of the engraving, we read: Here's a present day knight | On the top of the engraving, we read: Here's a present day knight |
25 | 00:01:58,946 | 00:02:01,344 | being taken care of by his host and two maidens. | being taken care of by his host and two maidens. |
26 | 00:02:02,114 | 00:02:06,462 | What stands the most is the burlesque character of the situation, | What stands the most is the burlesque character of the situation, |
27 | 00:02:07,067 | 00:02:11,230 | like this scene in which the host helps Don Quixote by pouring the drink | like this scene in which the host helps Don Quixote by pouring the drink |
28 | 00:02:11,777 | 00:02:15,990 | into his mouth through a pipe because our knight refuses to remove his helmet. | into his mouth through a pipe because our knight refuses to remove his helmet. |
29 | 00:02:16,903 | 00:02:20,378 | On the other hand, there are some shocking imprecisions, | On the other hand, there are some shocking imprecisions, |
30 | 00:02:21,304 | 00:02:25,648 | for example, Sancho being represented as tall as his master. | for example, Sancho being represented as tall as his master. |
31 | 00:02:26,730 | 00:02:32,058 | However, we will soon discover the difference between the two. | However, we will soon discover the difference between the two. |
32 | 00:02:36,917 | 00:02:39,745 | These English illustrations from 1687 | These English illustrations from 1687 |
33 | 00:02:40,112 | 00:02:42,787 | are much more refined than the previous ones | are much more refined than the previous ones |
34 | 00:02:43,112 | 00:02:45,223 | and focus more on the setting: | and focus more on the setting: |
35 | 00:02:46,460 | 00:02:49,913 | Don Quixote being promoted to a knight before an inn | Don Quixote being promoted to a knight before an inn |
36 | 00:02:52,057 | 00:02:55,295 | Don Quixote tilting at windmills | Don Quixote tilting at windmills |
37 | 00:02:58,967 | 00:03:03,154 | Don Quixote takes a flock of sheep for a marching army | Don Quixote takes a flock of sheep for a marching army |
38 | 00:03:06,495 | 00:03:10,049 | Don Quixote saves a convoy of prisoners | Don Quixote saves a convoy of prisoners |
39 | 00:03:13,612 | 00:03:16,251 | And here is Don Quixote in an 18th century painting | And here is Don Quixote in an 18th century painting |
40 | 00:03:16,601 | 00:03:19,191 | by Charles-Antoine Coypel, | by Charles-Antoine Coypel, |
41 | 00:03:19,578 | 00:03:26,130 | a history painter appointed by the Gobelins Manufactory in 1716 | a history painter appointed by the Gobelins Manufactory in 1716 |
42 | 00:03:26,791 | 00:03:29,675 | to make a series of twenty-five tapestry cartoons, | to make a series of twenty-five tapestry cartoons, |
43 | 00:03:30,191 | 00:03:33,329 | later often reproduced by various artists. | later often reproduced by various artists. |
44 | 00:03:39,463 | 00:03:41,847 | Coypel's influence was apparent throughout the century. | Coypel's influence was apparent throughout the century. |
45 | 00:03:42,114 | 00:03:45,653 | The only ones who resisted his spell were individualists like Natoire, | The only ones who resisted his spell were individualists like Natoire, |
46 | 00:03:47,336 | 00:03:49,492 | another author of tapestry cartoons, | another author of tapestry cartoons, |
47 | 00:03:50,192 | 00:03:53,913 | Gillot, sharing a similar style with Watteau, | Gillot, sharing a similar style with Watteau, |
48 | 00:03:56,058 | 00:03:59,709 | Fragonard, with his characteristic hatching | Fragonard, with his characteristic hatching |
49 | 00:04:06,546 | 00:04:10,093 | and finally Goya, who sadly left us with a single drawing: | and finally Goya, who sadly left us with a single drawing: |
50 | 00:04:10,394 | 00:04:12,831 | Don Quixote in his Study. | Don Quixote in his Study. |
51 | 00:04:14,319 | 00:04:16,084 | And since we're in Spain, | And since we're in Spain, |
52 | 00:04:16,376 | 00:04:18,850 | let's have a quick glance at these drawings, | let's have a quick glance at these drawings, |
53 | 00:04:19,139 | 00:04:21,225 | which date back to 1780. | which date back to 1780. |
54 | 00:04:22,459 | 00:04:25,807 | What's most typical about them, apart from the Spanish setting, | What's most typical about them, apart from the Spanish setting, |
55 | 00:04:26,099 | 00:04:28,169 | is a tendency towards liberation | is a tendency towards liberation |
56 | 00:04:28,635 | 00:04:32,775 | which paved the way for the 19th century art. | which paved the way for the 19th century art. |
57 | 00:04:34,525 | 00:04:36,862 | Now, let's cast some light on the French romantics: | Now, let's cast some light on the French romantics: |
58 | 00:04:37,109 | 00:04:39,745 | in Devéria's work from 1821 | in Devéria's work from 1821 |
59 | 00:04:42,835 | 00:04:44,835 | or Charlet's from 1830... | or Charlet's from 1830... |
60 | 00:04:45,524 | 00:04:49,929 | the lines are evidently getting more simple and bold, | the lines are evidently getting more simple and bold, |
61 | 00:04:50,238 | 00:04:52,443 | almost on the brink of caricature, | almost on the brink of caricature, |
62 | 00:04:52,681 | 00:04:55,688 | yet failing to successfully portray a character. | yet failing to successfully portray a character. |
63 | 00:05:00,506 | 00:05:05,287 | In 1853, a step forward was made by the painter Decamps. | In 1853, a step forward was made by the painter Decamps. |
64 | 00:05:06,195 | 00:05:08,195 | Here, the duo of Sancho Panza and Don Quixote | Here, the duo of Sancho Panza and Don Quixote |
65 | 00:05:08,894 | 00:05:10,894 | forms an indivisible whole. | forms an indivisible whole. |
66 | 00:05:11,211 | 00:05:13,211 | The knight and his squire | The knight and his squire |
67 | 00:05:13,340 | 00:05:15,340 | oppose and complement each other | oppose and complement each other |
68 | 00:05:15,477 | 00:05:17,509 | similar to two geometric shapes: | similar to two geometric shapes: |
69 | 00:05:18,015 | 00:05:19,797 | a line and a circle. | a line and a circle. |
70 | 00:05:20,512 | 00:05:25,480 | One represents roundness, the other straightness. | One represents roundness, the other straightness. |
71 | 00:05:31,901 | 00:05:35,182 | Tony Johannot will base his interpretation | Tony Johannot will base his interpretation |
72 | 00:05:35,446 | 00:05:37,150 | on the very same principle. | on the very same principle. |
73 | 00:05:38,034 | 00:05:41,401 | Everything is put to the service of portraying Don Quixote | Everything is put to the service of portraying Don Quixote |
74 | 00:05:42,052 | 00:05:45,450 | as a sharp, angular and scraggy character. | as a sharp, angular and scraggy character. |
75 | 00:05:47,594 | 00:05:50,987 | The main objective was to exploit Don Quixote's skinniness | The main objective was to exploit Don Quixote's skinniness |
76 | 00:05:51,529 | 00:05:54,965 | in a comical manner. | in a comical manner. |
77 | 00:05:59,335 | 00:06:02,199 | Staying true to the text, the depiction points out | Staying true to the text, the depiction points out |
78 | 00:06:02,546 | 00:06:06,272 | the essence of his structure along with his funny side. | the essence of his structure along with his funny side. |
79 | 00:06:11,627 | 00:06:13,177 | Here's an example: | Here's an example: |
80 | 00:06:13,655 | 00:06:16,772 | the 17th and 18th century editions | the 17th and 18th century editions |
81 | 00:06:17,385 | 00:06:19,385 | often showed a scene with Don Quixote | often showed a scene with Don Quixote |
82 | 00:06:20,100 | 00:06:22,979 | standing unstably on his horse | standing unstably on his horse |
83 | 00:06:23,426 | 00:06:26,187 | while the skillful Maritorne holds him with a rope | while the skillful Maritorne holds him with a rope |
84 | 00:06:26,425 | 00:06:28,612 | from the inn window. | from the inn window. |
85 | 00:06:32,272 | 00:06:37,139 | The moment of loss of balance is presented... | The moment of loss of balance is presented... |
86 | 00:06:38,896 | 00:06:43,310 | when Rocinante slips away, leaving our hero hanging. | when Rocinante slips away, leaving our hero hanging. |
87 | 00:06:48,330 | 00:06:53,048 | Or maybe, it's better to show the aftermath of a comic situation, | Or maybe, it's better to show the aftermath of a comic situation, |
88 | 00:06:53,529 | 00:06:54,908 | rather than show it happening. | rather than show it happening. |
89 | 00:06:55,704 | 00:06:58,301 | It's the same scene Tonny Johannot | It's the same scene Tonny Johannot |
90 | 00:06:58,704 | 00:07:02,735 | used to express the lengthiness of Don Quixote's body. | used to express the lengthiness of Don Quixote's body. |
91 | 00:07:14,618 | 00:07:16,618 | However, thanks to Gustav Doré, | However, thanks to Gustav Doré, |
92 | 00:07:17,067 | 00:07:20,606 | the image of Don Quixote has changed forever. | the image of Don Quixote has changed forever. |
93 | 00:07:34,120 | 00:07:36,372 | Don Quixote is finally taken seriously | Don Quixote is finally taken seriously |
94 | 00:07:36,804 | 00:07:39,221 | as the puppet makes way for the thinker. | as the puppet makes way for the thinker. |
95 | 00:07:39,954 | 00:07:43,852 | Furthermore, certain similarities with Christ are not to be neglected. | Furthermore, certain similarities with Christ are not to be neglected. |
96 | 00:07:53,925 | 00:07:57,510 | This new incarnation introduces the pure thought | This new incarnation introduces the pure thought |
97 | 00:07:58,395 | 00:08:01,119 | which goes far beyond any material contingency | which goes far beyond any material contingency |
98 | 00:08:01,506 | 00:08:03,879 | while feeding off its own chimeras. | while feeding off its own chimeras. |
99 | 00:08:06,057 | 00:08:09,384 | Coming down to earth is often accompanied by humiliation, | Coming down to earth is often accompanied by humiliation, |
100 | 00:08:09,794 | 00:08:12,494 | cruelty and mockery. | cruelty and mockery. |
101 | 00:09:08,034 | 00:09:10,401 | The landscape regains its importance, | The landscape regains its importance, |
102 | 00:09:10,917 | 00:09:13,907 | becoming both fantastical and mysterious. | becoming both fantastical and mysterious. |
103 | 00:09:14,435 | 00:09:18,747 | It's unclear whether these rocks, these mountains and horizons | It's unclear whether these rocks, these mountains and horizons |
104 | 00:09:19,122 | 00:09:23,207 | belong to the real world or to the hero's imagination. | belong to the real world or to the hero's imagination. |
105 | 00:09:45,554 | 00:09:49,929 | Daumier continued his search for allegory in 28 drawings made | Daumier continued his search for allegory in 28 drawings made |
106 | 00:09:50,308 | 00:09:54,398 | in the final years of his career, more precisely from 1860 to 1870. | in the final years of his career, more precisely from 1860 to 1870. |
107 | 00:09:55,918 | 00:09:57,918 | Behold the work of the greatest painter | Behold the work of the greatest painter |
108 | 00:09:58,343 | 00:10:00,706 | who has ever dealt with this subject! | who has ever dealt with this subject! |
109 | 00:10:01,600 | 00:10:03,648 | No room for anecdotes. | No room for anecdotes. |
110 | 00:10:04,019 | 00:10:07,972 | Everything is expressed in a game of lines and forms. | Everything is expressed in a game of lines and forms. |
111 | 00:11:17,628 | 00:11:19,829 | The comic side of Don Quixote vanishes | The comic side of Don Quixote vanishes |
112 | 00:11:20,123 | 00:11:22,169 | while the idealist kicks in. | while the idealist kicks in. |
113 | 00:11:22,634 | 00:11:26,247 | This can best be seen in this caricature accompanied by the following words: | This can best be seen in this caricature accompanied by the following words: |
114 | 00:11:26,556 | 00:11:29,051 | Here's the one who's always brave, kind, | Here's the one who's always brave, kind, |
115 | 00:11:29,274 | 00:11:31,274 | generous, imprudent... | generous, imprudent... |
116 | 00:11:31,480 | 00:11:34,782 | the one who gave up his spear for a quill | the one who gave up his spear for a quill |
117 | 00:11:35,107 | 00:11:39,063 | in order to confront the banalities offending his noble soul. | in order to confront the banalities offending his noble soul. |
118 | 00:11:41,360 | 00:11:45,691 | Salvador Dali, whose resemblance to Cervantes' hero was remarkable, | Salvador Dali, whose resemblance to Cervantes' hero was remarkable, |
119 | 00:11:46,156 | 00:11:48,340 | was the only artist in the last century | was the only artist in the last century |
120 | 00:11:48,696 | 00:11:51,980 | who portrayed Don Quixote free from the influence of the previous | who portrayed Don Quixote free from the influence of the previous |
121 | 00:11:52,264 | 00:11:54,304 | works by Doré or Daumier. | works by Doré or Daumier. |
122 | 00:11:55,237 | 00:11:58,543 | Choosing the road less travelled, Don Quixote lets the fool overshadow | Choosing the road less travelled, Don Quixote lets the fool overshadow |
123 | 00:11:58,821 | 00:12:01,916 | the thinker and goes on spinning like a spinning top, which, | the thinker and goes on spinning like a spinning top, which, |
124 | 00:12:02,265 | 00:12:06,832 | if you take a closer look, reveals an entire army. | if you take a closer look, reveals an entire army. |
125 | 00:12:08,139 | 00:12:10,429 | However, this madness is called paranoia... | However, this madness is called paranoia... |
126 | 00:12:10,683 | 00:12:13,203 | but that's only an introduction to a form of obsessive criticism | but that's only an introduction to a form of obsessive criticism |
127 | 00:12:13,464 | 00:12:17,396 | which the painter identifies with the process of the artistic creation itself. | which the painter identifies with the process of the artistic creation itself. |
128 | 00:12:19,088 | 00:12:22,759 | The folly of carefully calculated shots from arquebus... | The folly of carefully calculated shots from arquebus... |
129 | 00:12:25,191 | 00:12:28,833 | as well as filling rhinoceros's horns with ink... | as well as filling rhinoceros's horns with ink... |
130 | 00:12:30,654 | 00:12:34,689 | is nothing compared to the fruits of Dali's rigor | is nothing compared to the fruits of Dali's rigor |
131 | 00:12:34,974 | 00:12:38,606 | brought to the point of extreme meticulousness. | brought to the point of extreme meticulousness. |
132 | 00:12:44,809 | 00:12:46,809 | It's clear from these examples | It's clear from these examples |
133 | 00:12:47,063 | 00:12:51,699 | to what extent painting has enriched our knowledge of Cervantes' novel. | to what extent painting has enriched our knowledge of Cervantes' novel. |
134 | 00:12:52,516 | 00:12:55,036 | On the other hand, it also impoverishes it, | On the other hand, it also impoverishes it, |
135 | 00:12:55,267 | 00:12:59,059 | making us forget about the surrounding lively crowds | making us forget about the surrounding lively crowds |
136 | 00:12:59,422 | 00:13:02,337 | for the sake of the main characters and the landscape. | for the sake of the main characters and the landscape. |
137 | 00:13:02,732 | 00:13:05,119 | Only the early illustrators | Only the early illustrators |
138 | 00:13:05,404 | 00:13:07,802 | knew how to depict the crowd with precision. | knew how to depict the crowd with precision. |
139 | 00:13:09,174 | 00:13:11,489 | Everything about this crowd is important. | Everything about this crowd is important. |
140 | 00:13:11,849 | 00:13:13,849 | Every secondary role | Every secondary role |
141 | 00:13:14,471 | 00:13:16,471 | has its purpose. | has its purpose. |
142 | 00:13:17,717 | 00:13:21,611 | Every character our hero crosses his path with | Every character our hero crosses his path with |
143 | 00:13:21,919 | 00:13:23,709 | helps us understand him better | helps us understand him better |
144 | 00:13:23,952 | 00:13:27,082 | and locate him in the material (spatial) context. | and locate him in the material (spatial) context. |
145 | 00:13:28,361 | 00:13:30,601 | Every time a certain character appears on a higher ground | Every time a certain character appears on a higher ground |
146 | 00:13:30,967 | 00:13:33,865 | means he's suffering from a more severe form of madness. | means he's suffering from a more severe form of madness. |
147 | 00:13:34,206 | 00:13:37,190 | Let's take Cardenio's example because an unrequited love | Let's take Cardenio's example because an unrequited love |
148 | 00:13:37,513 | 00:13:40,411 | made him insane and drove him to the mountains... | made him insane and drove him to the mountains... |
149 | 00:13:42,303 | 00:13:44,586 | or that of shepherdess Marcele | or that of shepherdess Marcele |
150 | 00:13:44,887 | 00:13:47,785 | who values her own freedom to the point of cruelty, | who values her own freedom to the point of cruelty, |
151 | 00:13:48,394 | 00:13:51,094 | the very same cruelty that led a young man kill himself. | the very same cruelty that led a young man kill himself. |
152 | 00:13:51,583 | 00:13:56,481 | Taking her reasons into account, Cervantes doesn't miss the opportunity | Taking her reasons into account, Cervantes doesn't miss the opportunity |
153 | 00:13:56,789 | 00:14:01,070 | to reveal her impossible striving for purity also known as angelism. | to reveal her impossible striving for purity also known as angelism. |
154 | 00:14:06,063 | 00:14:09,742 | The additional stories from the first part of Don Quixote | The additional stories from the first part of Don Quixote |
155 | 00:14:10,159 | 00:14:14,328 | are not only digressions but also variations on the theme of | are not only digressions but also variations on the theme of |
156 | 00:14:14,768 | 00:14:16,768 | the power of obsession. | the power of obsession. |
157 | 00:14:17,865 | 00:14:22,070 | The story of The Curious Impertinent speaks of Anselmo, | The story of The Curious Impertinent speaks of Anselmo, |
158 | 00:14:22,527 | 00:14:25,401 | a young man from Florence, who, like Don Quixote, | a young man from Florence, who, like Don Quixote, |
159 | 00:14:25,640 | 00:14:27,503 | suffers from hypertrophied imagination | suffers from hypertrophied imagination |
160 | 00:14:27,761 | 00:14:29,815 | manifesting itself through pathological jealousy. | manifesting itself through pathological jealousy. |
161 | 00:14:30,132 | 00:14:33,897 | In order to be sure, he asks his best friend Lothario | In order to be sure, he asks his best friend Lothario |
162 | 00:14:34,655 | 00:14:37,460 | to test the fidelity of his wife Camilla. | to test the fidelity of his wife Camilla. |
163 | 00:14:38,307 | 00:14:40,307 | Lothario unwillingly accepts and eventually | Lothario unwillingly accepts and eventually |
164 | 00:14:40,748 | 00:14:42,485 | wins her heart. | wins her heart. |
165 | 00:14:42,776 | 00:14:44,776 | To remove all doubt, | To remove all doubt, |
166 | 00:14:45,072 | 00:14:47,339 | she plots a scene | she plots a scene |
167 | 00:14:47,921 | 00:14:50,152 | in which she fakes her own suicide | in which she fakes her own suicide |
168 | 00:14:50,711 | 00:14:54,023 | while Lothario is trying to seduce her | while Lothario is trying to seduce her |
169 | 00:14:54,714 | 00:14:58,198 | with Anselmo hiding behind a curtain. | with Anselmo hiding behind a curtain. |
170 | 00:15:04,007 | 00:15:06,596 | And he who doubted everything, | And he who doubted everything, |
171 | 00:15:07,038 | 00:15:10,077 | suddenly believed everything. | suddenly believed everything. |
172 | 00:15:15,626 | 00:15:18,655 | Another purpose of these digressions | Another purpose of these digressions |
173 | 00:15:18,878 | 00:15:21,244 | is to show that reality | is to show that reality |
174 | 00:15:21,522 | 00:15:23,674 | has in store more surprises than fiction. | has in store more surprises than fiction. |
175 | 00:15:24,785 | 00:15:29,785 | While Dulcinea appears as an ugly, vulgar peasant girl, | While Dulcinea appears as an ugly, vulgar peasant girl, |
176 | 00:15:30,257 | 00:15:34,944 | a complete opposite to the person from her admirer's imagination, | a complete opposite to the person from her admirer's imagination, |
177 | 00:15:35,353 | 00:15:37,982 | the women Don Quixote encounters | the women Don Quixote encounters |
178 | 00:15:38,306 | 00:15:40,306 | are very beautiful, | are very beautiful, |
179 | 00:15:41,084 | 00:15:43,084 | although that's not always apparent | although that's not always apparent |
180 | 00:15:43,518 | 00:15:45,518 | from the engravings. | from the engravings. |
181 | 00:15:45,733 | 00:15:49,000 | Take the example of Dorothy who, disguised as a shepherd, | Take the example of Dorothy who, disguised as a shepherd, |
182 | 00:15:49,236 | 00:15:51,978 | washes her feet in a brook. | washes her feet in a brook. |
183 | 00:15:57,841 | 00:16:01,046 | It's well known that Cervantes was held prisoner for six years | It's well known that Cervantes was held prisoner for six years |
184 | 00:16:01,376 | 00:16:04,555 | by the Barbarians. He attempted an escape several times, | by the Barbarians. He attempted an escape several times, |
185 | 00:16:04,809 | 00:16:07,685 | which almost led him to the gallows. | which almost led him to the gallows. |
186 | 00:16:10,782 | 00:16:13,344 | The story of Zoraida, a young Moorish woman | The story of Zoraida, a young Moorish woman |
187 | 00:16:13,626 | 00:16:19,282 | who disobeys her father's will and runs away with a brave christian slave, | who disobeys her father's will and runs away with a brave christian slave, |
188 | 00:16:19,610 | 00:16:24,274 | is not more fantastic than the life of the author himself. | is not more fantastic than the life of the author himself. |
189 | 00:16:46,499 | 00:16:51,069 | Finally, the second part of the book, written ten years later, | Finally, the second part of the book, written ten years later, |
190 | 00:16:51,456 | 00:16:54,315 | leads us to a disquieting thought | leads us to a disquieting thought |
191 | 00:16:54,726 | 00:16:58,879 | that no one can escape the virus of Don Quixote's madness. | that no one can escape the virus of Don Quixote's madness. |
192 | 00:16:59,830 | 00:17:04,310 | The hero is no longer confronted with harsh reality, | The hero is no longer confronted with harsh reality, |
193 | 00:17:04,681 | 00:17:06,942 | but with an artificial universe... | but with an artificial universe... |
194 | 00:17:07,485 | 00:17:11,766 | like when Don Quixote encountered actors in the cart, | like when Don Quixote encountered actors in the cart, |
195 | 00:17:12,164 | 00:17:14,108 | taking their masks and costumes | taking their masks and costumes |
196 | 00:17:14,394 | 00:17:17,384 | for their real characters... | for their real characters... |
197 | 00:17:18,364 | 00:17:22,801 | or when he unsuccessfully tried to provoke this gracious lion... | or when he unsuccessfully tried to provoke this gracious lion... |
198 | 00:17:24,633 | 00:17:29,220 | or even when he slaughtered Master Peter's puppets | or even when he slaughtered Master Peter's puppets |
199 | 00:17:29,670 | 00:17:33,669 | taking them for Moors, falling victim to a perfect illusion | taking them for Moors, falling victim to a perfect illusion |
200 | 00:17:33,946 | 00:17:38,375 | which would deceive even the shrewdest of spectators. | which would deceive even the shrewdest of spectators. |
201 | 00:17:52,064 | 00:17:57,290 | The barren landscapes from the beginning are transformed into a festive decor. | The barren landscapes from the beginning are transformed into a festive decor. |
202 | 00:18:15,345 | 00:18:17,821 | Our lonely, gloomy Don Quixote puts away his armour | Our lonely, gloomy Don Quixote puts away his armour |
203 | 00:18:18,123 | 00:18:22,930 | and joins a company hungry for divertissement, | and joins a company hungry for divertissement, |
204 | 00:18:23,351 | 00:18:28,662 | which would later be heavily criticized by Pascal. | which would later be heavily criticized by Pascal. |
205 | 00:18:29,347 | 00:18:32,218 | This company jealously keeps the grain of folly, | This company jealously keeps the grain of folly, |
206 | 00:18:32,526 | 00:18:37,667 | paradoxically praised by Erasmus a hundred years earlier. | paradoxically praised by Erasmus a hundred years earlier. |
207 | 00:19:36,043 | 00:19:40,273 | One of the most absurd scenes is the one with a wooden horse (Clavileno). | One of the most absurd scenes is the one with a wooden horse (Clavileno). |
208 | 00:19:40,624 | 00:19:42,647 | Don Quixote and Sancho are tricked | Don Quixote and Sancho are tricked |
209 | 00:19:42,882 | 00:19:45,941 | into believing they are actually flying on the horse | into believing they are actually flying on the horse |
210 | 00:19:46,623 | 00:19:50,529 | while the assistants are simulating rushing wind and fire | while the assistants are simulating rushing wind and fire |
211 | 00:19:50,897 | 00:19:53,899 | with special requisites. | with special requisites. |
212 | 00:20:00,077 | 00:20:02,671 | Finally, everything is going our hero's way | Finally, everything is going our hero's way |
213 | 00:20:03,014 | 00:20:05,091 | after he's confronted with the image of himself. | after he's confronted with the image of himself. |
214 | 00:20:05,508 | 00:20:08,126 | He's no longer striving to be Lancelot or Amadis | He's no longer striving to be Lancelot or Amadis |
215 | 00:20:08,364 | 00:20:10,437 | but Don Quixote. | but Don Quixote. |
216 | 00:20:16,118 | 00:20:19,046 | Here lies the unique depth of this masterpiece | Here lies the unique depth of this masterpiece |
217 | 00:20:19,480 | 00:20:22,925 | in which reality and fiction mirror each other, | in which reality and fiction mirror each other, |
218 | 00:20:23,406 | 00:20:25,956 | endlessly exchanging their reflections. | endlessly exchanging their reflections. |
219 | 00:20:27,957 | 00:20:31,894 | In the final chapter, Don Quixote is defeated by the Knight of the White Moon | In the final chapter, Don Quixote is defeated by the Knight of the White Moon |
220 | 00:20:32,461 | 00:20:34,461 | on a beach in Barcelona. | on a beach in Barcelona. |
221 | 00:20:34,933 | 00:20:37,144 | This scene leaves us with an unsettling feeling | This scene leaves us with an unsettling feeling |
222 | 00:20:37,453 | 00:20:40,659 | not merely caused by the hero's peaceful death. | not merely caused by the hero's peaceful death. |
223 | 00:20:43,606 | 00:20:46,436 | Lastly, a few words about Sancho Panza | Lastly, a few words about Sancho Panza |
224 | 00:20:46,839 | 00:20:50,546 | whose alleged wisdom isn't but foolishness. | whose alleged wisdom isn't but foolishness. |
225 | 00:20:51,097 | 00:20:54,070 | He's a simple rather than a cultivated man, | He's a simple rather than a cultivated man, |
226 | 00:20:55,449 | 00:20:58,937 | but unlike Don Quixote, his tragedy lies | but unlike Don Quixote, his tragedy lies |
227 | 00:20:59,394 | 00:21:01,644 | in turning into an idealist towards the end of the novel | in turning into an idealist towards the end of the novel |
228 | 00:21:02,211 | 00:21:04,492 | and paying the inevitable price for having such illusions, | and paying the inevitable price for having such illusions, |
229 | 00:21:05,039 | 00:21:07,938 | which is particularly evident in the bullying scene. | which is particularly evident in the bullying scene. |
230 | 00:21:08,809 | 00:21:11,831 | Another case of bullying, however, this time in a figurative manner, | Another case of bullying, however, this time in a figurative manner, |
231 | 00:21:12,398 | 00:21:16,565 | comes in a scene in which Sancho wakes up only to find out | comes in a scene in which Sancho wakes up only to find out |
232 | 00:21:16,934 | 00:21:21,652 | his beloved donkey got stolen by Gines de Pasamonte. | his beloved donkey got stolen by Gines de Pasamonte. |
233 | 00:21:24,047 | 00:21:29,070 | He follows his master only out of greed and hunger for governance. | He follows his master only out of greed and hunger for governance. |
234 | 00:21:31,089 | 00:21:33,502 | At some point, though, the locals name him governor, | At some point, though, the locals name him governor, |
235 | 00:21:34,014 | 00:21:36,589 | only to make fun of him. | only to make fun of him. |
236 | 00:21:41,498 | 00:21:44,091 | They play a thousand pranks on Sancho, | They play a thousand pranks on Sancho, |
237 | 00:21:44,392 | 00:21:47,837 | his table is magnificently set, but as soon as he starts eating, | his table is magnificently set, but as soon as he starts eating, |
238 | 00:21:48,232 | 00:21:51,357 | doctor Pedro Recio gets the table cleared... | doctor Pedro Recio gets the table cleared... |
239 | 00:21:53,172 | 00:21:59,156 | or when they lock him in an armour in order to protect him from a fake mutiny. | or when they lock him in an armour in order to protect him from a fake mutiny. |
240 | 00:22:03,467 | 00:22:05,721 | And yet, despite all the obstacles, | And yet, despite all the obstacles, |
241 | 00:22:06,020 | 00:22:08,681 | he successfully fulfils his duties of a judge, | he successfully fulfils his duties of a judge, |
242 | 00:22:09,401 | 00:22:12,502 | while, thanks to his earthly wisdom, | while, thanks to his earthly wisdom, |
243 | 00:22:12,934 | 00:22:19,338 | he keeps outsmarting the thugs better than anyone else. | he keeps outsmarting the thugs better than anyone else. |
244 | 00:22:25,174 | 00:22:27,728 | On all these 18th century engravings | On all these 18th century engravings |
245 | 00:22:28,154 | 00:22:30,154 | we continue to discover a baroque universe | we continue to discover a baroque universe |
246 | 00:22:30,454 | 00:22:33,259 | composed of various symbols and illusions. | composed of various symbols and illusions. |
247 | 00:22:34,264 | 00:22:39,060 | If it's true that this universe poses a threat to the image of Don Quixote, | If it's true that this universe poses a threat to the image of Don Quixote, |
248 | 00:22:39,580 | 00:22:42,700 | it still doesn't come without a positive side, | it still doesn't come without a positive side, |
249 | 00:22:42,986 | 00:22:45,536 | revealing new aspects of an illusion | revealing new aspects of an illusion |
250 | 00:22:45,907 | 00:22:48,307 | which, for Cervantes, at the same time represents | which, for Cervantes, at the same time represents |
251 | 00:22:48,707 | 00:22:51,118 | the source of and the cure for all our misfortunes. | the source of and the cure for all our misfortunes. |
252 | 00:22:52,205 | 00:22:56,588 | Reason will eventually deliver our hero from madness, | Reason will eventually deliver our hero from madness, |
253 | 00:22:57,241 | 00:23:00,292 | although we are perfectly aware that | although we are perfectly aware that |
254 | 00:23:00,882 | 00:23:03,260 | there is reason in madness | there is reason in madness |
255 | 00:23:03,740 | 00:23:06,490 | and madness in reason. | and madness in reason. |
256 | 00:23:08,151 | 00:23:10,511 | The ambiguity which underlies the novel | The ambiguity which underlies the novel |
257 | 00:23:10,796 | 00:23:14,392 | cannot be easily perceived at first sight. | cannot be easily perceived at first sight. |
258 | 00:23:14,943 | 00:23:18,873 | This novel should not be identified with various interpretations it inspired | This novel should not be identified with various interpretations it inspired |
259 | 00:23:19,261 | 00:23:21,505 | as it was often the case. | as it was often the case. |
260 | 00:23:22,977 | 00:23:26,508 | It's a book... one of the greatest in fact... | It's a book... one of the greatest in fact... |
261 | 00:23:26,960 | 00:23:30,116 | and it should be read. | and it should be read. |