Chap. XXI In Which the Canon Prosecutes the Subject of Knight-Errantry, and Makes Other Observations Worthy of His Genius
‘Mr. Canon,’ said the curate, ‘what you have observed, is extremely just, and therefore those authors deserve the greater reprehension, who have composed such books, without the least regard to good sense or the rules of art, by which they might have conducted their plans, and rendered themselves as famous in prose as the two princes of Greek and Latin poetry are now in verse.’—‘I myself,’ replied the canon, ‘have been tempted to write a book of chivalry, observing all the maxims and precautions I have now laid down; nay, to tell you the truth, no less than a hundred sheets of it are already written; and, in order to try if my own opinion of it was well founded, I have communicated my performance to a great many people who are passionately fond of that kind of reading; not only men of learning and taste, but also ignorant persons, who chiefly delight in extravagant adventures; and I have been favoured with the agreeable approbation of them all: nevertheless, I have not proceeded on the work; because, I not only thought it foreign to my profession, but likewise concluded, that the world abounds much more with fools than people of sense; and though an author had better be applauded by the few that are wise, than laughed at by the many that are foolish, I was unwilling to expose myself to the uninformed judgment of the arrogant vulgar, whose province it principally is to read books of this kind. But what contributed most to my laying aside the pen, and indeed all thoughts of bringing the work to a conclusion, was a reflection I made upon the comedies of the present age. “If,” said I to myself, “our modern plays, not only those which are formed upon fiction, but likewise such as are founded on the truth of history, are all, or for the greatest part, universally known to be monstrous productions, without either head or tail, and yet received with pleasure by the multitude, who approve and esteem them as excellent performances, though they are far from deserving that title; and if the authors who compose, and the actors who represent them, affirm, that this and no other method is to be practised, because the multitude must be pleased; that those which bear the marks of contrivance, and produce a fable digested according to the rules of art, serve only for entertainment to four or five people of taste, who discern the beauties of the plan, which utterly escape all the rest of the audience; and that it is better for them to gain a comfortable livelihood by the many, than starve upon reputation with the few.”—“At this rate,” said I, “if I should finish my book, after having scorched every hair in my whiskers, in poring over it, to preserve those rules and precepts already mentioned, I might fare at last, like the sagacious botcher, who sewed for nothing, and found his customers in thread120.” I have sometimes endeavoured to persuade the players, that they were mistaken in their maxims; and that they would bring more company to their house, and acquire much more reputation, by representing regular comedies, than such absurd performances; but I always found them so obstinately bigotted to their own fancies, that no evidence or demonstration could alter their opinion in the least. I remember, I once said to one of these pragmatick fellows, “Don’t you recollect, that a few years ago, three tragedies were acted, composed by a celebrated poet of this kingdom; and that they raised admiration, pleasure, and surprize, in all who saw them exhibited, gentle as well as simple, ignorant as well as learned, and brought more money to the actors than thirty of the best that have since appeared?”—“Doubtless,” answered the player, “you mean Isabella, Phillis, and Alexandria.”—“The very same,” said I; “and pray take notice, whether or not they are composed according to rule, or failed to please every body, because they were regular? Wherefore, the fault does not lie in the multitude’s demanding absurdities, but in those who can represent nothing else; for there is nothing absurd in the play of Ingratitude Revenged, nor in Numantia, the Merchant Lover, the Favourable Female Foe, nor in some others which are composed by poets of genius, to their own reputation, and the advantage of those who represented them.” I made use of many more arguments, by which he seemed to be confuted, though not so much satisfied or convinced, as to retract his erroneous opinions.’
‘Mr. Canon,’ said the curate, interrupting him in this place, ‘the subject you have touched upon awakes in me an old grudge I have bore to our modern plays, even equal to that I entertain against books of chivalry. Comedy, according to Tully, ought to be the mirrour of life, the exemplar of manners, and picture of truth; whereas, those that are represented in this age, are mirrours of absurdity, exemplars of folly, and pictures of lewdness; for sure nothing can be more absurd in a dramatick performance, than to see the person, who in the first scene of the first act, was produced a child in swaddling-cloaths, appear a full grown man with a beard, in the second; or to represent an old man active and valiant, a young soldier cowardly, a footman eloquent, a page a counsellor, a king a porter, and a princess a scullion. Then what shall we say concerning their management of the time and place, in which the actions have or may be supposed to have happened? I have seen a comedy, the first act of which was laid in Europe, the second in Asia, and the third was finished in Africa; nay, had there been a fourth, the scene would have shifted to America; so that the fable would have travelled through all the four divisions of the globe. If imitation be the chief aim of comedy, how can any ordinary understanding be satisfied with seeing an action that passed in the time of King Pepin and Charlemagne, ascribed to the Emperor Heraclius, who being the principal personage, is represented, like Godfrey of Bulloign, carrying the cross into Jerusalem, and making himself master of the holy sepulchre; an infinite number of years having passed between the one and the other. Or, when a comedy is founded upon fiction, to see scraps of real history introduced, and facts misrepresented both with regard to persons and times; not with any ingenuity of contrivance, but with the most manifest and inexcusable errors and stupidity; and what is worst of all, there is a set of ignorant pretenders, who call this the perfection of writing; and that every attempt to succeed by a contrary method is no other than a wild-goose chace121. Again, if we consider those plays that are written on divine subjects, how many false miracles do they contain? how many apocryphal events misunderstood by the author, who frequently confounds the operations of one saint with those of another? Nay, in prophane subjects, they have the assurance to work miracles, for no other respect or consideration, but because they think such a miracle will make a very decent appearance in such a place; and, as they term it, attract the admiration of the vulgar, and bring them in crowds to the play: but all this redounds to the prejudice of truth, the contempt of history, and scandal of our Spanish wits; so that the authors of other nations, who punctually observe the unities of the drama, conclude that we are barbarous and ignorant, from our absurd and preposterous productions. Neither is it a sufficient excuse to say, that the intent of all well-governed commonwealths, in permitting publick plays to be acted, is to entertain the common people with some honest recreation, in order to divert those bad humours which idleness usually engenders; and that, since this end is answered by any play whatever, either good or bad, there is no occasion to cramp and limit the authors or actors to the just laws of composition; the purpose of the legislature being, as I have said, accomplished without any such restriction. To this suggestion I answer, that the same end, without any sort of comparison, will be much better answered by good than bad comedies; for, after having seen an artful and well-digested play represented, the hearer will go away, delighted with the comic parts, instructed by the serious, and agreeably surprized with the incidents; collecting information from the dialogue, precaution from the deceits of the fable, experience from the examples exhibited, affection for virtue, and indignation for vice. All these sensations, I say, will a good comedy excite in the spectator’s mind, let it be never so stupid and uncultivated; for of all impossibilities, it is the most impossible, that a comedy, thus perfect in all its parts, should not yield more entertainment, satisfaction, and delight, than one that is defective in each particular, as the greatest part of our modern pieces are. Neither is this want of correctness always to be laid to the author’s charge; for there are some poets among us who are perfectly well acquainted with the rules of writing, and could easily avoid any such errors of composition; but as their pieces are made for sale, they say, and it is very true, that the players would not purchase them, if they were of any other stamp; so that the author is fain to accommodate himself to the demand of the actor who pays him for his work. The truth of this observation evidently appears in a great number of comedies which have been composed by a most happy genius of these kingdoms122, with so much wit, pleasantry, elegance of versification, genteel dialogue, sententious gravity, and finally, with such elocution and sublimity of stile, that the whole world resounds with his fame; yet in suiting himself to the false taste of the actors, he hath not been able to bring them all to the requisite point of perfection. Others again are so inconsiderate in their productions, that after representation, the players have been frequently obliged to fly and abscond for fear of chastisement, on account of having exhibited something to the prejudice of royal heads, or dishonour of noble families; now all these inconveniences, with many more that I do not chuse to mention, might be prevented, if there was at court some person of taste and learning, appointed to examine every dramatick performance before its appearance on the stage; and this precaution should affect not only the plays composed in Madrid, but all pieces whatever to be represented within the monarchy of Spain; for, without the approbation of this licencer, signed and sealed, no magistrate should allow any production to be acted within the bounds of his jurisdiction. In consequence of this expedient the actors would take care to submit every play to the censure of the examiner, that they might afterwards represent them with safety; and the authors would employ more caution and study in their compositions, knowing that they must pass the rigorous examination of an intelligent judge; in this manner, good comedies would be produced, and the aim of such writings happily accomplished, to the entertainment of the people, and the credit of Spanish wits; while the actors would represent them with security and advantage, and the state be exempted from the trouble of chastising such delinquents. And if the same licencer, or any other person, were invested with the charge of examining books of chivalry, before they see the light, some performances of that sort would certainly appear in all the perfection you have described, enriching our language with the delightful and precious treasure of eloquence; while the old romances would be entirely eclipsed by the light of the new, that would furnish rational amusement, not only for the idle, but also for those who are most industrious; seeing it is impossible for the bow to continue always bent, or that feeble nature can subsist without some innocent recreation.’
Thus far had the canon and curate proceeded in their conversation, when the barber coming up to them, said to his townsman, ‘Mr. Licentiate, this is the place in which I proposed to halt, that the oxen might have fresh pasture in abundance.’ The curate approved of the hint, and communicated their intention to the canon, who resolved to stay with them, being invited by the situation of a delicious valley that presented itself to his view; that he might therefore enjoy the agreeable spot, together with the conversation of the curate, for whom he had already conceived an affection, and be more particularly informed of Don Quixote’s exploits, he ordered his domesticks to proceed to an inn, which was not far off, and bring from thence victuals sufficient for the whole company; for he was resolved to spend the afternoon where he was. One of the servants told him that the sumpter-mule, which by that time had reached the inn, carried provision enough, and that they should want nothing but barley for the beasts. ‘If that be the case,’ said the canon, ‘carry the rest to the inn, and bring the sumpter-mule hither.’
Meanwhile Sancho perceiving that he might now speak to his master, without being overheard by the curate and barber, of whom he was suspicious, approached the cage, and thus addressed himself to the knight: ‘Truly, Sir, in order to disburthen my conscience, I must tell you something concerning this same inchantment. These people, with masks on their faces, are no other than the curate and barber of our town, who, I verily believe, have contrived to carry you off in this manner, out of pure envy and spite, because your worship has got the heels of them in your famous atchievements: now, this being supposed, it follows as plain as the nose upon my face, that you are not inchanted, but rather fooled and bamboozled. As a proof of which, I desire to ask you one question, which if you answer, as I do believe you will, your worship may clap your ten fingers on the trick, and perceive that you are not inchanted, but that your whole brain is turned topsy-turvy.’—‘Ask what you will, son Sancho,’ replied Don Quixote, ‘I will freely answer, and satisfy your doubts to the best of my power; with regard to your saying, that those who attend us are our friends and townsmen, the curate and barber, so indeed they may appear to your eye; but that they are really and effectually so, you must by no means believe: on the contrary, you are to conclude, that if they resemble our friends, the inchanters, who can assume what form they please, have taken that appearance and resemblance, to mislead your credit, and bewilder your imagination in such a labyrinth of perplexity, that even the clue of Theseus would not extricate your thoughts. Besides, they may have done it with a view of confounding my judgment, that I might not be able to guess from what quarter my misfortune proceeds; for, if on the one hand you affirm that I am attended by the barber and curate of our town; and on the other hand, I find myself encaged; though I am sensible that nothing but supernatural force could suffice to confine me thus, what would you have me say or think, but that the manner of my inchantment exceeds every thing I have read in all the histories that treat of inchanted knights? Wherefore set your heart at rest, and take it for granted, that these are as far from being the persons you have mentioned, as I am from being a Turk. With respect to thy desire of asking me questions, I repeat my promise of answering, even if thy interrogation should last till to-morrow morning.’—‘God’s blessed mother!’ cried the squire, with great vociferation, ’is it possible that your worship can be so thick-skulled and brainless, as not to perceive the truth of what I alledge, and see that this imprisonment and misfortune is more owing to malice than inchantment? But seeing it is so, I will venture to prove, beyond all contradiction, that you are no more inchanted than my ass. Tell me, therefore, as God shall deliver you from this mischance, and as you hope to see yourself in the arms of my Lady Dulcinea, when you least expect any such good luck—’ ‘Truce with thy conjuration,’ said the knight, ’and ask what thou wilt, I have already promised to answer with the utmost punctuality.’—‘That is my request,’ answered Sancho, ’and what I want to know is, that your worship will tell me, without eking or curtailing God’s precious truth, but in honest simplicity of heart as it ought to be, and always is told those who, like your worship, profess the occupation of arms, under the title of knight-errants—’ ‘I tell thee,’ cried the knight, interrupting him, ‘I will not in the least prevaricate. Dispatch then, Sancho, for truly I am quite tired with so many salvos, solicitations, and preambles.’—‘I make so bold,’ replied the squire, ‘because I am well aware of my master’s goodness and sincerity, which being as it were to the purpose, I ask (with reverence be it spoken) whether or not, since you have been confined, and as you suppose inchanted in this cage, your worship hath felt any motion or desire to undam either way, as the saying is?’—‘I do not know what you mean by undamming,’ answered Don Quixote; ‘you must be more explicit, Sancho, if you expect an answer to the purpose.’—’Is it possible,’ said the squire, ‘that your worship should be ignorant of the meaning of the word undamming, which is the first thing the boys learn at school? Well, then, you must know, I wanted to ask if you never had any inclination to do that which nobody else can do for you?’—‘Now I understand thee, Sancho,’ said the knight; ‘verily I have had divers calls of that nature, one of which is at present very importunate: pray fall upon some method to disembarrass me, for I believe all is not so sweet and clean as it ought to be.’