Cervantes in Seventeenth-Century England: The Tapestry Turned

CERVANTES IN SEVENTEENTH-CENTURY ENGLAND

1. ( frontispiece) Don Quixote, Sancho Panza, and their mounts as depicted in the copperplate frontispiece of John Phillips’s History of the Most Renowned Don Quixote (1687). In the background Dulcinea may be seen slopping hogs.

CERVANTES IN SEVENTEENTH-CENTURY ENGLAND

The Tapestry Turned

DALE B. J. RANDALL and JACKSON C. BOSWELL

1

3

Great Clarendon Street, Oxford ox2 6dp Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Oxford University Press 2009 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by CPI Antony Rowe Ltd., Chippenham, Wiltshire ISBN 978–0–19–953952–9 1 3 5 7 9 10 8 6 4 2

acknowledgments

We are glad to express our thanks here not only to those who have pointed out references and allusions to Cervantes but also to those who have checked references in collections inaccessible to us: Jennifer Andersen (Department of English, California State University at San Bernardino); Anna Battigelli (Department of English, SUNY at Plattsburg); Boyd Berry (Department of English, Virginia Commonwealth University); David Block (Cornell University Library); A. E. B. Coldiron (Department of English, Florida State University); Michael Dzanko (Thomas Reid Institute, University of Aberdeen); Charles Clay Doyle (Department of English, University of Georgia); Richard Kuhta (Folger Shakespeare Library); Clifford Johnson (Beinecke Library, Yale University); Katherine Larsen (Department of English, University of Maryland at College Park); Kathleen M. Lesko (independent scholar); Deborah Jackson Leslie (Folger Shakespeare Library); David Pavelich (Regenstein Library, University of Chicago); Lois G. Schwoerer (Department of History, George Washington University); Catherine M. Shaw (Department of English, University of Montreal); Stephen Tabor (Huntington Library); John Thomas (Harry Ransom Center, University of Texas at Austin); Marion Trousdale (Department of English, University of Maryland at College Park); Thomas M. Whitehead (Special Collections, Temple University Libraries); and Roberta E. Zonghi (Keeper of Rare Books and Manuscripts, Boston Public Library). For other contributions over the years we are glad to be indebted also to David M. Bergeron (Department of English, University of Kansas); Richard W. Clement (Spencer Library, University of Kansas); Geraldo U. DeSousa (Department of English, University of Kansas); Joseph J. Gwara (Language Studies Department, United States Naval Academy); Miguel Garci-Gomez (Department of Romance Studies, Duke University); E. B. Knowles, Jr. (Department of English, Pratt Institute); Bruce Lawrence (Department of Religion, Duke); Anthony G. Lo Ré (Department of Romance Languages, University of North Carolina at Chapel Hill); Francis Newton (Department of Classical Studies, Duke); Margarida Gândara Rauen (Department of Theater, College of Arts of Paraná, Ciritiba, Brazil); Kent J. Rigsby (Department of Classical Studies, Duke); Alex Roland (Department of History, Duke); P. E. Russell (Professor of Spanish Studies, University of Oxford); Alan Stewart (Department of English, Columbia); Gustav Ungerer (English Department, University of Berne, Switzerland); Bruce W. Wardropper (Department of Romance Studies, Duke); Andrew Wheeler (Great Baddow, Chelmsford, Essex); Heather Wolf (Curator of Manuscripts, Folger Shakespeare Library); two undergraduate student helpers, Brian H. Parr and Seann Duffin (both of Duke); James Kuhn (Folger Shakespeare Library), who has helped to make our long-distance collaboration digitally possible; Kevin L. Smith (Scholarly Communications, Duke); and Thomas Nickles and Michael Adamo (both of Duke), who have artfully engineered our digitalized illustrations. We also wish to express our warm appreciation for the countless courtesies and kindnesses of other librarians—friends, indeed—at both Duke University and the Folger Shakespeare Library. And most especially we want to thank our meticulous and infinitely

vi

acknowledgments

patient compiler of two indexes, J. Samuel Hammond (Special Collections Librarian and University Carillonneur, Duke). Finally, having already found ourselves guilty of more errors than any scholar would care to confess, we venture also to ask for the understanding and forbearance of any and all readers who come across errors that we are now unwittingly putting forth in print. Cervantes himself knew very well that there is no road so smooth as to cause no stumbling. In the words he assigned to Sancho Panza, “No hay camino tan Ilano, que no tenga algún tropezón” (Don Quixote 2.13). When first translated to English anonymously in 1620, this passage became: “There is no way so plaine (quoth Don Quixote) that hath not some rubbe, or pit” (p. 77).

contents

list of illustrations viii frequently cited sources x editorial note xi introduction xv @#

Entries by Decades

1605–1609 1610–1619 1620–1629 1630–1639 1640–1649 1650–1659 1660–1669 1670–1679 1680–1689 1690–1699 1700

page 1 page 8 page 38 page 66 page 98 page 138 page 226 page 294 page 374 page 480 page 624

@#

appendix: works by cervantes translated to english in the seventeenth century 655 bibliography 657 index of references to chapters in index 674

DON QUIXOTE

672

list of illustrations

1. Frontispiece: Don Quixote, Sancho Panza, and Dulcinea (1687), from Juan Givanel Mas y Gaziel, Historia gráfica de Cervantes y del Quijote (1946). Courtesy of Duke University Libraries 2. Amadis as depicted in The Most Excellent and Famous History of the Most Renowned Knight, Amadis . . . (1693). By permission of the Folger Shakespeare Library (p. xxxv) 3. Title page of Cervantes’s El ingenioso hidalgo Don Quixote (Madrid, 1605), from Manuel Henrich, Iconografía de las ediciones del Quijote (1905). Courtesy of Duke University Libraries (p. 2) 4. Title page of Thomas Shelton’s History of the Valorous and Wittie Knight-errant DonQuixote (1612), from Manuel Henrich, Iconografía de las ediciones del Quijote (1905). Courtesy of Duke University Libraries (p. 15) 5. Diego Sarmiento de Gondomar, Spain’s ambassador to England (1624), title page of The Second Part of Vox Populi. By permission of the Folger Shakespeare Library (p. 28) 6. Title page of Cervantes’s Travels of Persiles and Sigismunda (1619). By permission of the Folger Shakespeare Library (p. 36) 7. Don Quixote and Sancho Panza as depicted in The History of Don-Quichote (1620), from Manuel Henrich, Iconografía de las ediciones del Quijote (1905). Courtesy of Duke University Libraries (p. 39) 8. Frontispiece of The Legend of Captaine Jones (1648). By permission of the British Library (p. 72) 9. John Taylor, Thames waterman and poet (1621), from Taylor’s Motto: Et habeo, et careo, et curo. By permission of the Folger Shakespeare Library (p. 96) 10. A “Covenanting Scot & an English Independent” (n.d.), from Edmund Marsden Goldsmid, Explanatory Notes of a Pack of Cavalier Playing Cards (1886). By permission of the Rare Book, Manuscript, and Special Collections Library, Duke University (p. 107) 11. Don Quixote attacking the sheep, from Phillips’s History of the Most Renowned Don Quixote (1687). From the copy in the Rare Book Collection, University of North Carolina at Chapel Hill (p. 136) 12. Title page of The History of the Valorous and Witty-Knight-Errant, Don-Quixote (1652), from Manuel Henrich, Iconografía de las ediciones del Quijote (1905). Courtesy of Duke University Libraries (p. 149) 13. Don Quixote’s and Sancho Panza’s encounter with the players as depicted in Phillips’s Most Renowned Don Quixote (1687). From the copy in the Rare Book Collection, University of North Carolina at Chapel Hill (p. 158) 14. Title page of James Mabbes’s Delight in Severall Shapes (1654). From Beinecke Rare Book and Manuscript Library, Yale University (p. 166)

list of illustrations

ix

15. Don Quixote’s attack on the puppets, from Phillips’s Most Renowned Don Quixote (1687). From the copy in the Rare Book Collection, University of North Carolina at Chapel Hill (p. 212) 16. Hugh Peters as “Don Pedro de Quixot” (1660). By permission of Houghton Library, Harvard College Library (p. 229) 17. England’s “Rump” Parliament of 1648–53 and 1659–60 (n.d.), from Edmund Goldsmid, Explanatory Notes of a Pack of Cavalier Playing Cards (1886). By permission of the Rare Book, Manuscript, and Special Collections Library, Duke University (p. 237) 18. Don Bellianis, Honour of Chivalry (1664). By permission of the Huntington Library, San Marino, California (p. 267) 19. Don Quixote and Sancho riding Clavileño (1700), from Stevens’s The History of the Most Ingenious Knight Don Quixote. By permission of Houghton Library, Harvard College Library (p. 278) 20. The Ranters Ranting (1650). By permission of the Folger Shakespeare Library (p. 327) 21. William Lilly, the astrologer, satirized in Confidence Dismounted (1652). By permission of the British Library (p. 363) 22. Elizabeth Cellier seated at the pillory (1680), from Bagford Ballads: Illustrating the Last Years of the Stuarts (1878), ed. Joseph Woodfall Ebsworth. Courtesy of Duke University Libraries (p. 376) 23. Titus Oates standing in the pillory (1685), from The Doctor Degraded: or The Reward of Deceit. By permission of the Huntington Library, San Marino, California (p. 425) 24. Title page of John Phillips’s History of the Most Renowned Don Quixote of Mancha (1687), from Manuel Henrich, Explanatory Notes of a Pack of Cavalier Playing Cards (1886). Courtesy of Duke University Libraries (p. 443) 25. Sancho Panza’s blanket-tossing as pictured in Sir Edwin Sadleir’s Delightful History of Don Quixot (1689). By permission of the British Library (p. 472) 26. Henry Purcell’s “Sing, sing all ye muses” (1694), from Don Quixote: The Music in Three Plays of Thomas Durfey (1984), ed. Curtis Price. Courtesy of Curtis Price and Richard Macnutt (p. 533) 27. Don Quixote’s encounter with a windmill, from the title page of Phillips’s Most Renowned Don Quixote of Mancha and His Trusty Squire Sancho Pancha (1687). From the copy in the Rare Book Collection, University of North Carolina at Chapel Hill (p. 555) 28. Don Quixote defeated by a windmill, from The Much-esteemed History of the Everfamous Knight Don Quixote de La Mancha (1699). By permission of Houghton Library, Harvard College Library (p. 614) 29. Frontispiece with Don Quixote, Dulcinea, and Merlin, from John Stevens’s History of the Most Ingenious Knight Don Quixote de la Mancha (1700). By permission of Houghton Library, Harvard College Library (p. 629)

frequently cited sources

Becker DNB DQ 1 and DQ 2

Knowles

NA SP N&S OED Oxford DNB Shelton STC

UMI Wing

Gustav Becker, Die Aufnahme des Don Quijote in die englische Literatur (1605–c.1770) (Berlin: Mayer and Müller, 1906) The Dictionary of National Biography, ed. Sir Leslie Stephen and Sir Sidney Lee (London: Oxford University Press, 1959–60) Don Quixote, parts 1 and 2. Any numbering that follows designates the chapter or chapters under consideration. (Despite the division into four books found in some editions of Don Quixote, part 1, the now common practice of through-numbering each part has been adopted here) Edwin B. Knowles, Jr., “Allusions to Don Quixote before 1660,” Philological Quarterly 22 (1941): 573–86 . The numbered allusions in this article are cited in the present volume with Knowles’s name and the appropriate numeral National Archives, State Papers (Kew) Carolyn Nelson and Matthew Seccombe, British Newspapers and Periodicals 1641–1700 (New York: Modern Language Association, 1987) The Oxford English Dictionary, prepared by J. A. Simpson and E. S. C. Weiner (Oxford: Clarendon Press, 1989) The Oxford Dictionary of National Biography, ed. H. C. G. Matthew and Brian Harrison (Oxford: Oxford University Press, 2004) Thomas Shelton, first English translator of Don Quixote, part 1, and putative translator of Don Quixote, part 2 A Short-Title Catalogue of Books Printed in England, Scotland & Ireland and of English Books Printed Abroad, 1475–1640, first compiled by A. W. Pollard and G. R. Redgrave, then revised by W. A. Jackson and F. S. Ferguson, and completed by Katharine F. Pantzer (London: Bibliographical Society, 1976–91) Microfilm collection known as University Microfilms International Donald Wing, Short-title Catalogue of Books Printed in England, Scotland, Ireland, Wales, and British America, 1641–1700, rev. John J. Morrison, Carolyn W. Nelson, and Matthew Seccombe (New York: Modern Language Association of America, 1994); Website: “English Short-Title Catalogue,” copyright 1981–2005 by the British Library and ESTC/North America

editorial note

Entries in this compilation are arranged chronologically and, within individual years, alphabetically by authors’ surnames or initials. If neither of the latter is known, the entry is listed alphabetically by title. Entry titles that have been shortened generally conform to those in the STC (Shorttitle Catalogue of Books Printed in England, Scotland & Ireland and of English Books Printed Abroad, 1475–1640) and Wing (Short-title Catalogue of Books Printed in England, Scotland, Ireland, Wales and British America, 1641–1700). Capitalization and punctuation in the titles are generally regularized (but not always), and, unless noted otherwise, the place of publication of seventeenth-century volumes may be assumed to be London. Many titles appear only once, but others are also recorded among entries in subsequent years, later editions being considered valid signs of either continuing or recurring interest in the work at hand. Within the entries themselves, a few typographical errors have been corrected, but for the most part original spellings are retained, sometimes occasioning a sic, and the quoted passages have been rendered as faithfully as possible. Many of the passages quoted here were originally printed in a mixture of type fonts and with various combinations of capital and lower-case letters. Though it is assumed that readers will be more interested in substance than form, and that attempting to duplicate the original appearance of passages would be counter-productive (if not impossible), an effort has been made to preserve not only occasional eruptions of black letter and small capitals but also shifts from roman to italic characters. On the other hand, i/j, v/u, and vv/w have been regularized according to modern usage. Because of the nature of this volume (a book not likely to be read from cover to cover), it has seemed advisable occasionally to explain or define something or other more than once. An attempt has been made, however, to keep repetition to a reasonable minimum. Finally, as in most studies nowadays, calendar years are here taken to have begun on 1 January rather than 25 March.

This page intentionally left blank

—No hay libro tan malo—dijo el bachiller—, que no tenga algo bueno. —No hay duda en eso—replicó don Quijote. Cervantes, Don Quixote (1615)

There is no Book so bad, said the Batchelor, but it has something good in it. No doubt of that said Don Quixote. Stevens, Don Quixote (1700)

This page intentionally left blank

introduction

In a word . . . many littles make a mickle. Don Quixote 2.71

This book concerns the seventeenth-century English reception of the writings of Miguel de Cervantes Saavedra. Of course these include the early translating of some of the great Spaniard’s Novelas ejemplares, in the Prólogo of which he claims boldly “Yo soy el primero que he novelado en lengua castellana.”2 Nevertheless and predictably, however, the word “reception” overwhelmingly means here the reception of Cervantes’s Don Quixote. Furthermore and fortunately, that reception turns out to be a far more complicated and therefore much more interesting subject than first meets the eye, either within or beyond the seventeenth century. After all, Cervantes’s long, two-part story about a reader addicted to books has proven to be one of a small handful of the most seminal books in Western literature. Exceeded only by the Bible, it is said to be the second most frequently published book in the world.3 Clearly, as Edwin Williamson puts the case, “The sheer cultural power of Don Quixote is a phenomenon which invites exploration.”4 A major question here, then, is “What did the first English-speaking readers of Don Quixote perceive?”5 On 19 January 1611, when the work was entered in the Stationers’ Register in London by the bookseller Edward Blount, the anglicized title of the work was set down as The Delightfull History of the Witty 1

2 3

4 5

One of Sancho Panza’s proverbs as translated by the anonymous translator of The Second Part of the Historie of Don Quixote (1620), 41. The Spanish reads: “muchos pocos hacen un mucho” (Don Quixote de La Mancha, in Obras completas de Miguel de Cervantes, vol. 1 of 4 vols. [Madrid: Biblioteca Castro, Turner Libros, 1993], 597). Novelas ejemplares, in Obras completas, 3:13. In English: “I am the first to have written novels in Castilian.” Eric J. Ziolkowski, The Sanctification of Don Quixote: From Hidalgo to Priest (University Park, PA: Pennsylvania State University Press, 1991), 1. See also Edward C. Riley, “La singularidad de la fama de Don Quijote,” Cervantes 22 (2002): 27–41. “Introduction: The Question of Influence,” in Cervantes and the Modernists: The Question of Influence (London: Tamesis, 1994), 1. As used here, “English-speaking” acknowledges entries by any and all Britons, including those in colonial America.

xvi

introduction

Knighte Don Quishote. 6 Thus Cervantes’s book was at the outset introduced as a work intended to entertain. Nor should one forget that Don Quixote was received in Spain itself as a humorous, entertaining book. When the figures of Don Quixote and Sancho Panza appeared in early Spanish street festivals, they were clearly objects of mirth.7 In short, Don Quixote was first welcomed both at home and abroad as a mirth-inducing book. In our own times Bakhtin has found another applicable term for it: carnivalesque.8 All things considered, it should be no surprise that later times have perceived, valued, and emphasized different aspects of Don Quixote. Edwin B. Knowles, Jr., one of the most visible students of the book’s various readings over the centuries, has discerned and described them in terms of four major periods. According to Knowles, English readers in the seventeenth century saw most clearly the farcical elements of the work; the eighteenth century continued to value this comic strain, but valued more the satiric; the nineteenth century tended to romanticize, to idealize, and even to find spiritual implications in the work; and, most eclectic of all, the twentieth century drew something or other from all of the foregoing, perceiving what Knowles termed “an eternal human classic of a rich complex nature.”9 What should still later readers make of all this? Since Cervantes himself invites multiple interpretations, we can hardly be surprised that different readers have different views or, indeed, that different times bring different waves of views. Clearly meaning is contingent on both time and the individual. Though far from trying to privilege any single-century reading, the present compilation, participating in what nowadays might be termed “reception history,” focuses only on the first century of English perceptions of Cervantes. As objectively as possible and innocent of any side-tracking polemic, it aims to provide some hard evidence of just how seventeenth-century English-speaking readers regarded such versions of Cervantes’s writing as were available to them. The evidence provided here is surely not all that someday will be found, but with well over a thousand entries, the spectrum of information on display here should be sufficient to encourage readers to ponder more accurately and grasp somewhat more surely what there is to know about the English response to Cervantes’s writing in each of the ten decades of the seventeenth century. 6 7

8

9

Edward Arber, ed., A Transcript of the Registers of the Company of Stationers of London 1554–1640 A.D. (repr. Gloucester, MA: Peter Smith, 1967), 3:451. See e.g. Francisco Rodríguez Marín, El “Quijote” y Don Quijote en América (Madrid: Librería de los sucesores de Hernando, 1911), and María Luisa Lobato, “El Quijote en la mascaradas populares del siglo xvii,” in Cervantes estudios en la víspera de su centenario (Kassel: Edition Reichenberger, 1994): 557–604. M. M. Bakhtin, English Rabelais and His World, trans. Hélène Iswolsky (Bloomington: Indiana University Press, 1984) 22–3. Howard Mancing provides a helpful commentary on “Bakhtin, Spanish Literature, and Cervantes,” in Cervantes for the 21 s t Century/Cervantes para el siglo XXI, ed. Francisco La Rubia Prado (Newark, DE: Juan de la Cuesta, 2000): 141–62. “Cervantes and English Literature,” in Cervantes across the Centuries, ed. Angel Flores and M. J. Benardete (New York: Dryden Press, 1947 [i.e., 1948], and New York: Gordian, 1969), 267.

introduction

xvii

Here as elsewhere, honoring one’s scholarly predecessors is both a duty and a pleasure. To summarize briefly at this point, it might be helpful simply to note that previous attempts to track Cervantes in England extend back to 1688, when Gerard Langbaine published Momus Triumphans, or, the Plagiaries of the English Stage, and followed this with An Account of the English Dramatick Poets (1691), aided by Charles Gildon, and The Lives and Characters of the English Dramatick Poets (1699). In times much closer to our own, Emil Koeppel concerned himself with Quellen-studien zu den Dramen George Chapman’s, Philip Massinger’s und John Ford’s of 1897 and “Don Quijote, Sancho Panza und Dulcinea in die englischen Literatur bis zum Restauration,” published in 1898 in the Archiv für das Studien der neueren Sprachen und Literaturen. In 1906 Koeppel was followed by Gustav Becker, who put forth Die Aufnahme des Don Quijote in die englische Literatur. Among British scholars, probably the greatest early champion of England’s connection with Cervantes was James Fitzmaurice-Kelly, who tended to exaggerate enthusiastically, perhaps especially in his “Cervantes in England,” an address published in the Proceedings of the British Academy in 1905–6. The most persistent pursuer of Cervantine allusions and references, however, and the one cited most frequently in the present work is Knowles. Somewhat inclined to minimize England’s early interest in Cervantes (possibly as a reaction to what he perceived as over-eagerness in some of his predecessors), Knowles was nevertheless pleased at one point to report that he had garnered eighty-some English references “down to 1660.”10 And more or less finally, at least for the moment, Gustav Ungerer has recently mined yet a little more seventeenth-century Cervantine ore for the Bodleian Library Record.11 The findings of these varied searchers and a handful of others are both appreciated and duly recorded in the acknowledgments and bibliography of the present volume. Indeed, a fair amount of effort has been expended to give credit when credit is due. Such back-glancing, however, is likely to be imperfect; therefore, the compilers of the present book apologize for any and all unintended offenses of omission that we may have committed. At the same time, having worked on this project for a significant while, we are also pleased to share the good news that we offer here many more new entries than borrowed ones. To the extent that we are historians, we have perceived a value in casting our nets somewhat farther and wider than our predecessors have tended to do. Recognizing the extent to which the seventeenth century witnessed “a growing ability to read” (as H. S. Bennett puts the case), that it became, in fact, “a reading age,”12 we have sought everywhere and anywhere for evidence of readers 10 11 12

“Cervantes and English Literature,” 271. “Recovering Unrecorded Quixote Allusions in Ephemeral English Publications of the Late 1650s,” Bodleian Library Record 17 (2000): 65–9. English Books and Readers, 1603 to 1640 (Cambridge: Cambridge University Press, 1970), 80.

xviii

introduction

reading Cervantes. For example, we have made forays into the newsbooks and pamphlets of the day (indeed, we have found some interestingly antiphonal pamphlets). We have held that the grist for our mill should include even such an item as a library catalogue; hence our first entry records the Bodleian Library’s acquisition of a Spanish copy of Don Quixote only a few months after its first publication. Garnered also for inclusion here is a glimpse into the 1611 catalogue of the private library of Ben Jonson’s Scottish friend William Drummond of Hawthornden, who owned a 1598 copy of Cervantes’s pastoral Galatea. Moreover, as the years of the century rolled onward and the booksellers of the age became more knowledgeable and adventuresome, some of them began to perceive the value of distributing commercial catalogues. The London bookseller Robert Martin, for instance, issued no fewer than six such catalogues in the years from 1633 to 1650.13 And sometimes, naturally, these publications included entries for works by Cervantes, thus enabling posterity to learn that a palpable copy of such a work was in such a place at such a time. It may even be the case that in the turbulent summer of 1643 England experienced its earliest book auction when a Lords and Commons Committee issued an ordinance for the selling of twenty-six libraries belonging to royalist sympathizers.14 Whether it did or not, auctions in England became a major means of selling books in the last quarter of the seventeenth century. It is believed that the earliest surviving catalogue of an English book auction dates from 31 October 1676 and concerns the sale of the library of Dr. Lazarus Seaman by William Cooper.15 A further detail of interest might be that the sale was conducted in Seaman’s own home in Warwick Lane, handily near the center of London’s book trade.16 It was only rather late in the century that book auctions began to be held with some frequency in taverns, shops, and coffee houses. References to coffee houses, however, eventually crop up so frequently as to become a socially suggestive element in the present volume.17 And auctions eventually came to be held also 13 14

15

16

17

Graham Pollard and Albert Ehrman, The Distribution of Books by Catalogue from the Invention of Printing to A.D. 1800 (Cambridge: Roxburghe Club, 1965), 91. Ian Roy, “The Libraries of Edward 2nd Viscount Conway and Others: An Inventory of 1642,” Bulletin of the Institute of Historical Research 4 (1968): 39. Roy has in mind an ordinance of 18 August which authorizes “giving notice of the said sale in writing upon some posts or walls in the most open and eminent places near the place of sale two dayes before the said sale” (Acts and Ordinances of the Interregnum, 1642–1660, ed. C. H. Firth and R. S. Rait, 3 vols. [London: HMSO, 1911], 1:258). Murray C. T. Simpson, “Some Aspects of Book Purchasing in Restoration Scotland . . . ,” Edinburgh Bibliographical Society Transactions 6 (1990): 6. See also Giles Mandelbrote, “The Organization of Book Auctions in Late Seventeenth Century London,” in Under the Hammer: Book Auctions Since the Seventeenth Century, ed. Robin Myers, Michael Harris, and Giles Mandelbrote (New Castle, DE: Oak Knoll Press, 2001): 15–50. See Frank Hermann, “The Emergence of the Book Auctioneer as a Professional,” in The Formation, Organisation and Dispersal of the Private Library 1620–1920, ed. Robin Myers and Michael Harris (Winchester, Hants.: St. Paul’s Bibliographers, 1991): 4–5. Since English society certainly was and would remain hierarchical, Helen Berry’s observation is all the more remarkable: “Any newcomer to a London coffee house would . . . have regarded the

introduction

xix

in for-the-purpose auction houses. The bookseller Robert Clavell, who was trying to carry on the sale of books from his shop at the sign of the peacock in St. Paul’s Churchyard, growled about auctions: I suppose that many men have paid dear for their experience in this way; and I judge it may be demonstrable, that ’tis more probable for the Buyer to gain advantage by a Lottery, than in this way, being likely by That, once in twenty times a man may get a Prize.18

As for latecomers such as ourselves who cannot bid, the next auction catalogue that comes to hand may, nevertheless, yield the prize of another entry item relating to Cervantes. Most notable of all here, the catalogues issued by the quick-witted, fast-talking auctioneer Edward Millington announced the sale of Cervantes items in at least thirty of his auctions between 1681 and 1700. Whenever a reference to a Cervantes volume turns up, whether in an English catalogue or anywhere else in the earlier years of the seventeenth century, it most likely indicates the writer’s awareness of Thomas Shelton’s translation of Don Quixote published in London in 1612. Whatever its shortcomings may be, it is certainly a lively, colloquial, and altogether likeable book. Not until 1620 would English readers have a chance to buy another edition of it. Somewhat surprisingly, however, it proves to be rather different from its predecessor. The opening paragraph of the 1620 volume provides an unusual number of changes. There Shelton’s “yeoman” of 1612 has become a “gentleman,” “a little minced meate every night” has become “a Galli-mawfry each night,” “griefes and complaints” have become “collops and egges,” and “apparell” has become “sute.”19 To be sure, some pages are hardly revised at all, but Knowles, after careful study of this second edition, discovered long ago that it has “thousands of changes in spelling, capitalization, and punctuating.”20 Perhaps even more significant here is his finding that the amended prose of 1620 manifests an ongoing effort to convey Spanish meanings more accurately. Most thought-provoking of all, however, Knowles concluded that regardless of what survives of the 1612 version in the edition published about eight years later, “the correcting was almost certainly not done by Shelton, for none of his mannerisms occur in their variant forms, and in general the new words are more modern English” (p. 262). exhortation in the Rules and Order of the Coffee House (1674) for people to temporarily cast aside their observance of rank, and to socialize together freely, with astonishment: ‘Gentry, tradesmen, all are welcome hither | And may without affront sit down together’ ” (Gender, Society and Print Culture in Later Stuart England [Aldershot, Hants.: Ashgate, 2003], 14). 18 19 20

The General Catalogue of Books Printed in England Since the Dreadful Fire of London MDCLXVI (1680), recto of leaf following title page. These examples, quoted in the order in which they appear, are drawn from pp. 1–2 of the two editions. (A “gallimaufry” is a ragout or hash, and a “collop” is a slice of bacon [OED].) Knowles, “The First and Second Editions of Shelton’s Don Quixote Part I: A Collation and Dating,” Hispanic Review 9 (1941): 262. See also James H. Montgomery, “Was Thomas Shelton the Translator of the ‘Second Part’ (1620) of Don Quixote?” in Cervantes: Bulletin of the Cervantes Society of America 26 (2006; pub. 2008): 209–17.

xx

introduction

It was not until 1620, at any rate, that this second version of Don Quixote, pt. 1, was first paired with the first English version of Don Quixote, pt. 2. Put forth anonymously, this second part has usually tended to be taken as the work of Thomas Shelton. Sandra Forbes Gerhard, for instance, expresses no doubt in her study that it is his.21 On the other hand, it is probably good to remember that in 1692 the canny Anthony à Wood observed cautiously, “I cannot tell . . . the name of him who translated his [Cervantes’s] Second part of the History of Don Quixot.”22 Since it was put forth by the publisher Edward Blount and dedicated to King James’s current favorite, George Villiers (at that time Marquess Buckingham, Viscount Villiers, Lord High Admiral of England, etc.), and since Shelton appears to have had little or no share in the revision of pt. 1, and since he certainly took no credit for pt. 2, one might begin to suppose that perhaps he was out of the picture by 1620. Nevertheless, since Thomas Shelton is by all odds the best remembered seventeenth-century translator of Cervantes, he deserves a few more words here. Having been born into a staunchly Roman Catholic family in Dublin, and in his youth having studied in Spain at the Irish College of Salamanca, Shelton was back home in Ireland in 1598. It cannot have been a happy home. Indeed, ever since 1596 his father, Henry Shelton, had been in prison for refusing to take the oath of supremacy when he was elected sheriff.23 Then in 1598 Thomas himself was suspected of being involved in an attempt by Catholics to storm Dublin Castle, the seat of English government in Ireland. Still worse, his brother John was hanged for participating in the attempt, and their father would remain in prison until he died there in 1601. Not surprisingly, then, Thomas made his way back to Spain and Spanish Flanders, and in the latter he appears to have done some teaching. In the handful of scattered letters that survive from those later days, correspondence written by him and to him, the tone and subject tend to be cheerless, and Shelton appears to be footloose or impoverished or both. Possibly the most telling of all among the letters is one he addressed to William Trumbull, head of the English embassy in Brussels, on 28 March 1615. Shelton writes: “I have told you already what were the things that might be objected in England against me. . . . Bethink you how I may go home safely and soon.”24 Whatever else transpired over the years that followed this plea, it appears that the latest word we have of Shelton comes from Father Thomas Strange, a Franciscan based in Dublin, who wrote on 20 November 1629 to recommend that Friar Shelton be admitted into the Franciscan community in Rome.25 21 22 23

24 25

“Don Quixote” and the Shelton Translation (Madrid: Studia Humanitatis, 1982). Athenœ Oxonienses, vol. 2 of 2 vols. (London, 1691–2), col. 14. In 1559 an Act of Parliament made Queen Elizabeth supreme head of the Church of England and Ireland and required that anyone taking church or public office had to renounce Roman Catholicism. J. George, “Thomas Shelton, Translator, in 1612–14,” Bulletin of Hispanic Studies 35 (1958): 163. Knowles, “Thomas Shelton, Translator of Don Quixote,” Studies in the Renaissance 5 (1958): 173.

introduction

xxi

Considering such shards of Shelton’s life story as can be pieced together from our distance of nearly four centuries, surely it is relevant to note also that there appear to be a few non-Catholic touches in the 1620 Don Quixote, pt. 2. Anthony Lo Ré, a scholar who has pointed out and considered them, observes that Shelton was highly unlikely to have written, for example, a pejorative phrase such as “Romish opinion” (DQ, pt. 2, p. 67). Lo Ré, in fact, ventures to suggest that the first translator of Don Quixote, pt. 2, was Leonard Digges.26 Conceivably he is right, but for now the identity of the translator of the 1620 Don Quixote, pt. 2, remains unknown. Cervantes’s writing, nonetheless, was gradually becoming better known in England during the earlier years of the century, and this despite the fact that the two translated parts of Don Quixote did not appear again until they were reprinted (labeled “Corrected and Amended”) in a two-volume edition of 1652. And, sure enough, a sampling of the opening paragraph of the Don’s earlier adventures manifests once again the numerous changes that had been made anonymously in 1620. More strikingly, so does the opening paragraph of the edition of 1675. And despite the correcting and amending, these books are still generally attributed only to Thomas Shelton. In the meantime an anonymous English version of Cervantes’s Los trabajos de Persiles y Sigismunda (1617)—a romance generically akin to the Aethiopica of Heliodorus—was rather quickly but anonymously translated and published in 1619. Proud as Cervantes appears to have been of this last of his works, however, The Travels of Persiles and Sigismunda seems never to have caught on among English readers. After its appearance, in fact, and that of the two parts of Don Quixote in 1620, there ensued a noteworthy hiatus of twenty years before six of the twelve stories in Cervantes’s Novelas ejemplares were translated and put forth by James Mabbe.27 The title page of Mabbe’s anthology both translates the Spanish title straightforwardly as Exemplarie Novells: in Sixe Books and also identifies the author fully as Miguel de Cervantes Saavedra. Moreover, it acknowledges Cervantes to be “One of the prime Wits of Spaine, for his rare Fancies, and wittie Inventions.” Discreetly steering clear of the rougher-edged stories of the Spanish collection, however, Mabbe selected those he presumed would be most suitable for young and especially feminine readers. An aging gentleman himself, he dedicated these translations to Mistress Susanna Strangways (or Strangeways), 26

27

Lo Ré, “The Putative Thomas Shelton Quixote Part II, 1620, with Leonard Digges as the Likely Translator,” in Essays on the Periphery of the Quixote (Newark, DE: Juan de la Cuesta, 1991), 29– 43. Though Digges is probably known best now for a poem of praise that he wrote for the first Shakespeare folio in 1623, he was a good translator. In that same year he rendered The Rogue: or The Life of Guzman de Alfarache from the Spanish of Mateo Alemán, and before that he had produced Gerardo the Unfortunate Spaniard (1622) from the Spanish of Gonzalo de Céspedes y Meneses. The English versions of both Persiles and the Novelas ejemplares are discussed in Dale B. J. Randall, The Golden Tapestry: A Critical Survey of Non-Chivalric Spanish Fiction in English Translation (Durham, NC: Duke University Press, 1963), 95–102, 134–51.

xxii

introduction

the daughter-in-law of his good friend and patron Sir John Strangeways, with whom he was living at the time. It would be his last translation. In fact, the ensuing 1654 edition of the collection lacks the names of both Mabbe and his dedicatee. Mabbe had died in the interim. Whatever the business details may have been, the new volume was printed for the bookseller William Sheares, who titled it somewhat more fetchingly as Delight in Severall Shapes and addressed it unmistakably “TO THE LADIES.” Feminine readers were now assured that “to your delicate Sex these soft pieces of Pleasure are best directed” (sig. A2r ). In this incarnation of Cervantes’s work, in fact, “the nicest and most scrupulous vertue shall finde nothing . . . that will inforce her modesty to put on its Scarlet mantle.” Nor need anyone fear to encounter “knots of Language, that will give you any paines to unty.” Another thirty more years then passed before another of Cervantes’s shorter works resurfaced in England. Published anonymously in 1681, it was titled The Jealous Husband.28 A rather ambiguous tale tinged with realism and focused on an ill-fated January–May marriage, this book is based on El celoso extremeño, another story from Cervantes’s collection of novelas. Besides an elderly husband and his all-too-young wife, it features a black eunuch slave and a conniving duenna, and, all things considered, provides one of Cervantes’s most intriguing plots. Moreover, the book appears to be unique not only in its rarity now but also insofar as it is the only one of the Novelas ejemplares to appear in seventeenth-century England within its own covers. Six or so years later, in 1687, another collection of Cervantes’s novelas was put forth by Roger L’Estrange, one of the most prolific writers of his day and also the man currently serving as licensor and surveyor under England’s revived Licensing Act. Five of Cervantes’s stories make up the first half of L’Estrange’s book called The Spanish Decameron, or Ten Novels, wherein the last five works have been drawn from Alonso Castillo Solórzano’s La garduña de Sevilla. The first five are, indeed, presented as the work of “a famous Author,” but neither writer is named on L’Estrange’s title page or in his preface. In fact it turns out that all five of Cervantes’s stories in The Spanish Decameron were translated and published by James Mabbe some forty years earlier, which may help explain why L’Estrange goes out of the way in his preface to specify not only that the text he has worked from was by “One of the most Refin’d Wits of France,” but also that he himself has proceeded “with a Freedom of Alteration, and Addition, as my Fancy led me.”29 Thus does L’Estrange obscure the fact that he has availed himself of Mabbe’s work.30 28 29 30

See Dale B. J. Randall, “A ‘New’ 17th-century English Translation of Cervantes’s El celoso extremeño,” in Cervantes: Bulletin of the Cervantes Society in America 26 (2006): 73–7. All three quotations here come from L’Estrange’s Preface (recto and verso of an unmarked leaf inserted after the title page). A second edition appeared in 1700. Henry Thomas goes so far as to write, “The charge of plagiarism against Lestrange seems clear enough, and the offence flagrant. But in his time literary piracy was a venial offence” (“Bibliographical Notes: A Forgotten Translation of Cervantes,” Revue Hispanique 45 [1919]: 11).

introduction

xxiii

Still another set of Cervantes’s novelas was produced in 1694 by Dr. Walter Pope. An Oxford D.M., sometime professor of astronomy at Gresham College, and an early member of the Royal Society, Pope turned six of the Novelas ejemplares to English under the title Select Novels, the First Six Written in Spanish by Miguel Cervantes Sayavedra—the only other work in the volume being Pope’s version of Petrarch’s Historia Griseldis. Pope chose to retell four of the stories that both Mabbe and L’Estrange had already published previously, but he omitted their choice of La fuerza de la sangre and ventured to translate—for the first time in English—the fascinating El licenciado vidriera, a complicated and satiric tale about a man who thinks himself made of glass. All this, says Dr. Pope, was “the product of my retirement at Epsom last Summer” (sig. A3r ). And, he adds, “I have not endeavour’d to render my Author word, for word, but my Concern was, to make him speak English” (sig. A3r–v ). Everything considered, no one is likely to claim that Cervantes’s Novelas ejemplares either singly or collectively caused a great stir among seventeenthcentury English readers. Intriguingly varied in subject and form as they are, however, and borrowing as they do from the Italian novella, the Byzantine romance, the picaresque novel, and other literary genres as well, they are notable also (though less obviously) for their chameleonic presentation of exemplarity itself.31 Far more varied and subtle, for example, than such English works as John Reynolds’s popular but tellingly titled anthology called The Triumphs of Gods Revenge (1621 et seq.), Cervantes’s stories are apparently crafted so as to be construed as exemplary of either good or bad or even both. A thoughtful reader must do some deciding. Notable also beyond the plain fact that the Novelas ejemplares were translated into seventeenth-century English prose, at least seven of them played a role in the creation of no fewer than nine English plays—including two clandestine drolls that turned up during the Interregnum, after England’s theaters were ordered closed.32 As complex as the evidence is, different scholars may be relied upon to come forth with somewhat different lists of seventeenth-century English plays and playwrights that were affected by Spanish sources, but it is clear beyond anyone’s doubt that John Fletcher was the playwright who turned to Cervantes’s novelas most frequently. In no fewer than four of his plays (The Fair Maid of the Inn, Love’s Pilgrimage, Rule a Wife and Have a Wife, and The Chances) Fletcher turned (sometimes with a collaborator) to some version or another of four of Cervantes’s stories (La ilustre fregona, El casamiento engañoso, La Señora Cornelia, and Las dos doncellas). And it was from Rule a Wife and Have a Wife and The Chances that a later writer or writers created the two 31 32

Currently the best introduction to the Novelas ejemplares in English is A Companion to Cervantes’s Novelas ejemplares, ed. Stephen Boyd (Woodbridge, Suffolk: Boydell and Brewer, 2005). Drolls were short, comical shows intended “rather to provoke a laughter; then occasion a contemplation” (Robert Cox, quoted in Francis Kirkman, The Wits: or, Sport upon Sport, pt. 2 [1673], sig. A1r ). See Randall, Winter Fruit: English Drama 1642–1660 (Lexington: University Press of Kentucky, 1995), 147–56.

xxiv

introduction

drolls, An Equal Match and The Landlady. Other playwrights who turned to the novelas include Philip Massinger, Thomas Middleton, William Rowley, and (apparently the only one from the Restoration period) John Dryden. Massinger borrowed from El amante liberal to create The Renegado, Middleton and Rowley drew material from both La gitanilla and La fuerza de la sangre for The Spanish Gypsy, and Dryden, in writing The Rival Ladies, turned back to Las dos doncellas.33 When one takes into consideration not only the audiences who attended this array of English plays, but also the readers who read them, and when one remembers, too, those readers who read one of the English prose translations of Cervantes’s shorter narratives, it would appear that in some form or another these works reached at least a moderately broad English audience. Nevertheless, and despite having gained a significant foothold in England in the earlier part of the century, it was rather late before Cervantes and his work began to arouse (in Franco Meregalli’s words) “el intenso, especifico interés de los ingleses por el Quijote.”34 The year 1672 saw a reprint of the revised version of Shelton’s translation of the first part of Don Quixote, and 1675 brought forth a volume that combined the former with another edition of the second part. Next, then, and far more reckless, unlaced, and demotic than Mabbe, L’Estrange, or Pope, John Phillips published a version called The History of the Most Renowned Don Quixote (1687). Knowles calls this work a “vulgarly clever travesty-translation.” 35 Then, quite remarkably, as the century drew to a close, still more new versions were put forward by Captain John Stevens and Peter Anthony Motteux. Stevens, the son of a page to Queen Catherine, was a frequent translator, and his History of the Most Ingenious Knight Don Quixote de La Mancha, published in 1700, proves to be a more accurate but somewhat deflated version of Shelton’s translation. With admirable but uncommon frankness, Stevens’s title page announces that his work was “Formerly made English by Thomas Shelton; now Revis’d, Corrected, and partly new Translated from the Original.” And during that same year, the first two (of four) volumes of Motteux’s translation also appeared. Clearly there must have been a significant demand at the time for the Spanish knight. The title page of Motteux’s History of the Renown’d Don Quixote de la Mancha acknowledges that it has been the work of several hands, but then fudges when claiming Cervantes’s Spanish original to be its only begetter. In fact it draws significantly from both Shelton and the Histoire de l’admirable Don Quixote de la Manche of Filleau de Saint-Martin, a popular translation published first in Paris in 1677–8. 33 34

35

Brisk listing should not obscure the complexity of such matters as these. For example, some scholars would argue that Thomas Dekker and John Ford are the likeliest begetters of The Spanish Gypsy. Meregalli, “Los primeros dos siglos de recepción de la obra cervantina: Una perspectiva,” Actas del tercer coloquio internacional de la asociación de Cervantistas (Barcelona: Editorial Anthropos, 1993): 35. Also helpful here is José Montero Reguera, “Aspectos de la recepción del ‘Quijote’ en el siglo XVII,” Edad de oro 12 (1993): 203–18. “ ‘Don Quixote’ Through English Eyes,” Hispania 23 (1940): 109.

introduction

xxv

A still stronger signal of the growing popularity of Don Quixote is the appearance of four abridgments, works that were probably especially welcome to those who wanted to know what Don Quixote was all about but were unable or unwilling to read anything so lengthy. The first abridgment, appearing in 1686, is an anonymous twenty-four-page chapbook based closely on Shelton’s translation and called The Famous History of Don Quixote de la Mancha . . . with the Merry Humours of Sancho Panca His Squire. Here Cervantes’s story has been boiled down to a mere seven chapters. The second abridgment, a 204page duodecimo published in 1689, is called The Delightful History of Don Quixote the Most Renowned Baron of Mancha . . . also the Comical Humours of His Facetious Squire Sancho Pancha. Only recently has it been discovered that this is the handiwork of Sir Edwin Sadleir (1661?–1719), who dedicated his labors to “his Beloved Consort The Lady S.” (sig. A3r ).36 Sadleir describes Don Quixote as a “Celebrated History” and assures his wife that it is as “gravely Moral” as it is pleasant. Somewhat surprisingly, however, he bases his text not on Shelton’s but on Phillips’s racier version. Though scholars are divided on the matter, probably the next of the abridgments, issued anonymously in 1699, is The Much-esteemed History of the Everfamous Knight Don Quixote de la Mancha Containing . . . the Comical Humours of Sancho Pancha, His Remarkable ’Squire. Here the reader is assured in a short preface that the “centring” of this book displays “Moral Solidity, by exposing Folly, that Men might learn to shun it.” Furthermore, it has been praised by “all Conditions of People” (sig. A2r–v ). Probably really appealing to people of nearly any “condition,” this fairly complete abridgment, like that of 1689, is about two hundred pages long. This one, moreover, comes with six inserted leaves of copper-plate etchings. Most likely the fourth of these abridgments (though some scholars would reverse the order of these last two), The History of the Ever-renowned Knight Don Quixote de la Mancha . . . with the Pleasant Humours of His Trusty Squire, Sancha Pancha is an anonymous chapbook of twenty-four pages. This is a rather carelessly presented work that is nonetheless cheerfully enlivened with six crude woodcuts. Since these final two abridgments share considerable verbal similarity with one another, and since it seems more likely that the shorter one borrowed from the longer rather than the other way around, and since the woodcuts in the chapbook are pretty clearly derived from the 1699 copper plates, Knowles has suggested that The History of the Ever-renowned Knight should be dated 1700(?).37

36 37

Dale B. J. Randall, “Avoiding Garrulity: An Introduction to Sir Edwin Sadleir and His Improvement of Cervantes’s Don Quixote,” forthcoming in Studies in Philology 106 (2009). This sequence of abridgments contradicts the dating given in Wing’s revised Short-Title Catalogue, 2nd edn. (New York: Modern Language Association of America, 1994), but accords with Knowles’s argument in “Don Quixote Abridged,” Papers of the Bibliographical Society of America 49 (1955): 19–36. Wing suggests that the date of the shorter abridgment may have been 1695.

xxvi

introduction

While the preceding paragraphs give an overview of Cervantes’s more visible English translators, the fact is that there were a few more. The richest and most obvious source of such information is probably Peter Motteux’s “Translator’s Preface” to his History of the Renown’d Don Quixote. There, immediately after he has belittled the work of his predecessors, Motteux declares that he is seriously indebted to a number of his friends. Indebted for what we cannot always say. Among these friends, nevertheless, is William Aglionby, who may be best remembered now for his Present State of the United Provinces (1669) or his Painting Illustrated in Three Dialogues (1686). From Motteux’s perspective, however, Aglionby deserved recognition as the man “who oblig’d me with the Story of the Captive, translated by him some years ago.”38 Also contributing to Motteux’s cause was Thomas Sergeant, “who has favour’d me with . . . [the story] of the Goatherd.”39 Apparently helpful also was Don Bernardino Navarro, who was “at once a Just Critic in his own Language, and . . . a Master of ours” (sig. A6v ). Still more vaguely but apparently linguistically involved in Motteux’s work are various “other Gentlemen, who are not only Masters of the Spanish, but of the Delicacies of our Tongue” (sig. A6v ). At about the same time, one finds John Stevens including in the front matter of his History of the Most Ingenious Knight Don Quixote an “Advertisement concerning the Poetical part of the Translation” wherein he sets down the fact that he has entrusted the rendering of Cervantes’s verse to the translating skills of “two other Persons, who desire to have their Names conceal’d ” (sig. A8r ). Stevens, probably the most careful of early Quixote translators, even lets it be known that because both of the latter were relatively good at writing verse but neither was a master of Spanish, he himself provided them with an English prose version of Cervantes’s lines, then saw to it that “what they did was constantly Compar’d with the Original” (sig. A8r ). If we turn back a few years, we discover, furthermore, that even John Phillips seems to have availed himself of help when it came to Cervantes’s verse. Though the free-wheeling Phillips does not himself reveal the fact in his History of the Most Renowned Don Quixote of Mancha, an entry of 26 December 1685 in the Register of the Worshipful Company of Stationers informs us that the poetry of his work was the achievement of “several eminent hands.” 40 In short, more names than we will ever know lie behind the early English versions of Cervantes’s Don Quixote. Whatever else one is able to deduce from such evidence, it is clear beyond doubt that the final decade of the 1600s manifested an extraordinary English interest in the writings of Miguel de Cervantes. In fact, the crowd-pleasing 38 39

40

The History of the Renown’d Don Quixote de la Mancha (1700), sig. A6v . Motteux refers here to El capitán cautivo, a story embedded in DQ 1.39–41. Sig. A6v . Here Motteux refers either to the goatherd who tells Don Quixote the story of Grisóstomo and Marcella (DQ 1.12) or the one who acquaints him with the plight of the lovesick Cardenio (DQ 1.23, 27). See herein the 1685 entry itself.

introduction

xxvii

appeal of Don Quixote and Sancho Panza appeared in yet another kind of guise: Thomas D’Urfey’s trilogy of Don Quixote plays was both produced and published in 1694–6.41 An extended and notable cultural happening of its day, these plays all called for a good deal of music, some of it composed by Henry Purcell at the close of his own short but luminous career and much of it still extant. Thus one may venture to imagine Cardenio (played by John Boman) singing “Let the Dreadful Engines of Eternal Will” or the beautiful shepherdess Marcella (said to have been played stunningly by Anne Bracegirdle) singing her mad song, “I Burn, I Burn.”42 Over the years, then, Cervantes’s works were subjected to an interestingly thorough English manifestation: they underwent translation, adaptation, condensation, and dramatization. And inevitably even the most earnest of these versions is at best limited, relative, and partial. In their various ways, each is unfaithful.43 Neither the problems nor the possibilities attending texts and translations were unknown to Cervantes himself, of course, and he deals with the subject cannily. In his Prológo, having introduced himself as a stepfather of the Don Quixote story (whatever that may mean), his Cervantine narrator goes on to hint that the story about to be presented will be based on information found in the Archivos de La Mancha. After an initial eight chapters, however, whatever the sources thus far may have been, the narrative breaks off suddenly, and the chief source for the story becomes some old notebooks that by chance the narrator has been lucky enough to find in the marketplace of Toledo. Written in Arabic, these are ostensibly the work of the historian Cide Hamete Benengeli, and the delighted narrator quickly hires a Toledan Morisco to translate them. This is by no means the end of authorial complexity, however, for the narrator, in putting the story forth, in various ways and at various points both presents and edits the Morisco’s work. For notable stretches, furthermore, there are still 41

42

43

Pts. 1 and 2 were produced in 1694, published in 1695, and pt. 3 was produced in 1695, published in 1696. John Loftis provides a good brief assessment of these plays in The Spanish Plays of Neoclassical England (New Haven: Yale University Press, 1973), 152–7. The first of these songs, written by Purcell, appeared in 4.1 of the first play, and the second, by John Eccles, in 5.2 of the second play. They have been printed in facsimile in Don Quixote: The Music in the Three Plays of Thomas of Thomas Durfey, ed. and intro. Curtis Price, Music for London Entertainment (Tunbridge Wells: Richard Macnutt, 1984), pp. 20–6 and 19–23 (of their respective plays). Whatever success D’Urfey might claim for his Don Quixote plays, an anonymous “journal” observed that his “ignorance in all foreign Tongues” assured “that he was never guilty of Translation” (A Journal from Parnassus Now Printed from a Manuscript circa 1688 [London: P. J. Dobell, 1937], 21). This aspect of Quixote studies has been explored extensively: see e.g. John Jay Allen, “Traduttori Traditori: Don Quixote in English,” Crítica hispánica 1 (1979): 1–13; Sandra Forbes Gerhard, “Don Quixote” and the Shelton Translation: A Stylistic Analysis (Madrid: Studia Humanitatis, 1982); Burton Raffel, “Translating Cervantes: una vez más,” Cervantes: Bulletin of the Cervantes Society of America 13 (1993): 5–30; Daniel O. Mosquera, “Don Quijote and the Quixotics of Translation,” Romance Language Annual 6 (1994): 546–50; and James A. Parr, “Don Quixote: Translation and Interpretation,” Philosophy and Literature 24 (2000): 387–405. As Parr observes, “translation is, in itself, a form of interpretation” (p. 404).

xxviii

introduction

other narrators such as Cardenio, Dorotea, and the Captive. No one can ever be sure whether this kind of layering indirection was simply an amazingly fruitful artistic choice or a means of echoing the pseudo-historicity of the romances of chivalry44 or a cagey and circumspect post-Tridentine move on Cervantes’s part. Perhaps it was all three at one point or another. A fact that we are left with is that the subject of texts and translations seems to have interested Cervantes. At one point, turning to a simile that was already in the air at the time, he has Don Quixote express the belief that el traducir de una lengua en otra . . . es como quien mira los tapices flamencos por el revés; que aunque se ven las figuras, son llenas de hilos que las oscurecen, y no se ven con la lisura y tez de la haz.45

In the words of the 1620 English edition: [T]his translating from one language to another . . . is just like looking upon the wrong side of Arras-Hangings: that although the Pictures be seene, yet they are full of threed ends, that darken them, and they are not seene with the plainenesse & smoothnesse, as on the other side. (p. 427)

The simile is, of course, only too accurate.46 It is true also that a reader’s act of reading a work, translated or original, generally leaves no traceable historical record. Hence after-the-fact generalizing about readers is tricky. A major aspect of the present volume, however, is that it is packed with references and reactions to Cervantes that were set down in writing in the 1600s by a very broad spectrum of individuals. Best of all, having 44

45

46

See Daniel Eisenberg, “The Pseudo-Historicity of the Romances of Chivalry,” in Romances of Chivalry in the Spanish Golden Age (Newark, DE: Juan de la Cuesta, 1982): 119–29, and “Cervantes and the Libros de caballerías,” in A Study of Don Quixote (Newark, DE: Juan de la Cuesta, 1987): 3–44. A good case may be made for Bruce W. Wardropper’s view that “Don Quixote is, among other things, a tremendous protest against the moralistic assurance of Counter-Reformation Spain” (“Don Quixote: Story or History?” Modern Philology 63 [1965]: 10). Francisco Olmos García would agree that despite all the fun, Cervantes had to move cautiously: “La oposición fundamental entre las exigencias de su conciencia de hombre consagrado al cultivo de ‘las letra humanas’, cuyo fin es propiciar la equidad, es decir, contribuir a que se produzcan cambios en el orden existente, le ponen a Cervantes en grave y permanente conflicto con la censura” (Cervantes en su época [Madrid: Ricardo Aguilera, 1968], 105–6). On the other hand, a very different sort of case may be made by those who choose to emphasize Cervantes’s latter-day joining of both the Hermandad del Santísimo Sacramento and the Terceros de San Francisco. Don Quixote, 2.62. Quoted from Obras completas, 1:1036. In English of the twenty-first century: “[T]ranslating from one language to another . . . is like viewing Flemish tapestries from the wrong side, when, although one can make out the figures, they are covered by threads that obscure them, and one cannot appreciate the smooth finish of the right side. (trans. John Rutherford, The Ingenious Hidalgo Don Quixote de la Mancha . . . [Harmondsworth, Middx.: Penguin Books, 2001], 915). In the front matter of one of his translations, Leonard Digges writes: “Translations (as sayes a witty Spaniard) are, in respect of their Originals, like the knottie wrong-side of Arras-Hangings” (Gerardo the Unfortunate Spaniard [1622], sig. A2r ). See Louis C. Pérez, “The Theme of the Tapestry in Ariosto and Cervantes,” Revista de Estudios Hispánicos 7 (1973): 289–98; Dawn L. Smith, “El envés del tapiz: Recreando los entremeses de Cervantes en versión inglesa,” Romance Language Annual 5 (1993): 513–17; and Randall, Golden Tapestry, 3, 22–38.

introduction

xxix

somehow survived the ravages of time, these writings give fleeting glimpses into many different kinds of seventeenth-century minds. Presented here with such a large number of entries, one conceivably might feel the urge to seek clusters of what in our own time have been perceived as interpretative communities of readers. Such a search surely would bring to view some clusters of reader-writers with shared professions, ideologies, conditions, agendas, or even strategies. And something interesting would likely come from investigating any of these. Focusing on the clergy alone, for instance, might be fruitful in various ways. Most basically, it would reveal a broad and often eristical range of English writers making use of the same Spanish book for very different ends. Among many other possible examples, Symon Patrick (1626– 1707), who eventually became Bishop of Ely, put forth a work called A Further Continuation: or, A Third Part of the Friendly Debate (1670), which was part of a trilogy that he structured as a verbal tug-of-war between a Church of England “Conformist” and a “Non-Conformist.” During the course of this fictional debate, Patrick has “C.” refer to Don Quixote not once but many times. At one point, for example, where “N.C.” ventures to defend a certain author who has been targeted by “C.,” the latter replies scornfully that when such a one tries to demonstrate a shew of Learning there is nothing need be done (as a Friend of the Author of D. Quixotes History told him) but only to bob47 into the Book some Latine Sentences, which he knows already by rote. (p. 40)

In other words, Patrick calls to mind a major passage in Cervantes’s prologue to Don Quixote, pt. 1, a passage where a supposed friend suggests that the writer impress his readers by piling up miscellaneous scraps of Latin gathered from hither and yon. Another noteworthy “C.” clergyman, Edward Stillingfleet (1635–1699), in his Discourse Concerning the Idolatry Practised in the Church of Rome (1671), raised Roman Catholic hackles by comparing the spiritual conversion of Ignatius Loyola with the transformation of Don Quixote occasioned by his reading of romances (pp. 309–10). A slow but tart response was forthcoming from Father William Darrell (1651–1721), a Jesuit, in his work called A Vindication of Saint Ignatius (1688). There Darrell scoffs that Stillingfleet “hath spent so much Time in turning over Don Quixote, as to have left none for the Scripture” (p. 3). Another Roman Catholic, Sylvester Norris (1572–1630), chose to lump Anglicans together with other kinds of undesirables in his Guide to Faith: or A Third Part of the Antidote Against the Pestiferous Writings of All English Sectaries (1621). Resurrecting the old story that Matthew Parker, Queen Elizabeth’s Archbishop of Canterbury, was consecrated at the Nag’s Head Tavern in Cheapside, Norris jeeringly compares this apocryphal event and setting with that “of Don-Quixote knighted in an Inne by the good 47

Bob: insert.

xxx

introduction

fellow his host” (pp. 187–8). Scornful mockery, clearly, was a recurring strategy in clergymen’s writings of the time, and Don Quixote played a part in the game. Further evidence of this from a Christian of still another camp, the Presbyterian Clement Walker (1595–1651), is manifested in his tellingly titled Anarchia Anglicana: or, The History of Independency (1648). Walker writes here of the current man of the hour, Oliver Cromwell (victorious that year over both the Royalists and their allied Scots at the Battle of Preston), dubbing him “the Knight of the Sun and Don Quixot of the Independents” (p. 30). In yet other quarters, of course, there was scorn for Presbyterians. Griffith Williams (1589?– 1672), in his Great Antichrist Revealed (1660)—wherein the “Antichrist” is Parliament’s Westminster Assembly48 —writes: “I look that some . . . bold, blind, and ignorant Presbyterian Zoilus like an Orlando furioso,49 will run at me, as Don Quixot ran against the Wind-mill, and like an angry Wasp, sting both me and my book” (p. 83, 3rd pagination). By no means the least interesting aspect of the overall situation here, then, is the point-and-counterpoint intertextuality of many of these publications, where one writer after another feels obliged not only to put forth his own views but also to react to the publications of others. Even across the Atlantic, far from most of the slings and arrows of sectarian infighting, none other than Cotton Mather (1663–1728) in his Pietas in patriam (1697) turned to Don Quixote to make a point. Somewhat oddly, however, when he did so, it was to assure his readers that, truly, “there are Witches, or, wicked Children of Men” (p. 72). To ignore the wise and virtuous authorities whom he has chosen to prove his case would be, he claimed, “as reasonable as to turn the Chronicles of all Nations into romances, of Don Quixot and the Seven Champions.”50 In short, as this handful of samples suggests, Cervantes’s Don Quixote proved to be a useful resource for enlivening the writing of many clergymen of various persuasions. Perhaps John Williams (1636–1709), sometime chaplain of King William and Queen Mary, acknowledged this best when, in his Pulpit Popery (1688), he conjured up the term “Ecclesiastical Quixotism” (p. 36). At the same time, however—and perhaps largely because of the comedic qualities of Don Quixote—it probably would be a thankless task to attempt sorting out readers with similar tastes according to their similar or different social levels.51 In point of fact, John Taylor, a sometime waterman on the 48 49 50 51

In 1643, after the outbreak of the Civil War, the so-called Westminster Assembly was convened by Parliament, primarily for the purpose of establishing Presbyterianism in England. Zoilus, an ancient grammarian, is remembered for the excessive harshness of his criticism; and the hero of Ludovico Ariosto’s long poem Orlando furioso (1516) is Roland, who goes mad. Richard Johnson’s Most Famous History of the Seven Champions of Christendom (1596) was one of the most popular of English romances during the seventeenth century. Roger Chartier works with the concept of simultaneous audiences in “Reading Matter and ‘Popular’ Reading: From the Renaissance to the Seventeenth Century,” in A History of Reading in the

introduction

xxxi

Thames, a man self-dubbed as the Water Poet, seems to have much the same sense of fun as John Locke. For another potentially surprising example, a helpful observer of our own time, T. A. Birrell, has noted that [T]he puritan radical, John Webster of Clitheroe (1611–82) was a clergyman, a surgeon, a metallurgist, a linguist, and an educational reformer. . . . But what sticks out like a sore thumb is his extensive collections of romances, obviously part of a deliberate acquisitions policy.52

And the library of this radical Puritan did, indeed, include a copy of Don Quixote.53 Whatever one’s expectations may be when approaching the entries in the book at hand, there is at least one other caveat to bear in mind. Very early among our entries, one encounters a celebratory procession that took place in Valladolid, Spain, in early June of 1605, a procession that is remarkable insofar as riding along in it, with hundreds of people to see, there were two mounted men garbed as Don Quixote and Sancho Panza. Surely a significant number of viewers must have been expected to recognize them as figures drawn from Cervantes’s recently published and already popular book. This procession, therefore, may serve us here as a useful paradigm: some of the onlookers who were present that day but had not read Don Quixote were nevertheless in a position to learn something about the lean knight and his squire. This would suggest that in order to be on the safe and suitably skeptical side here, one might, by indulging in a little parallel thinking, conclude reasonably that in later years a certain number of Englishmen who had never laid a finger on any edition whatsoever of Cervantes’s book might somehow, nevertheless, have known about and been able to laugh about and even write about a foolish man attacking a windmill.54 Whether we like it or not, this is a cultural phenomenon that certainly must be embedded here and there in this present volume. But who is to say where? The good news is that to the extent that it occurs in individual items, this sort of familiarity sans reading manifests a far more limited but no less real kind of knowledge than that gained by reading itself. West, ed. Guglielmo Cavallo and Roger Chartier, trans. Lydia G. Cochrane (Amherst: University of Massachusetts Press, 1999); see esp. 270–2. As Lori Newcomb has observed, “the sense of continuity between elite and popular cultural uses of print . . . is now emerging in book history” (Reading Popular Romance in Early Modern England [New York: Columbia University Press, 2002], 11). 52

53 54

“Reading as Pastime: The Place of Light Literature in Some Gentlemen’s Libraries of the 17th Century,” in Property of a Gentleman: The Formation, Organisation and Disposal of the Private Library 1620–1920, ed. Robin Myers and Michael Harris (Winchester, Hants.: St. Paul’s Bibliographies, 1991), 118. Recorded here under “1682.” E. C. Riley explores a path similar to this in “Don Quixote: From Text to Icon,” Cervantes: Bulletin of the Cervantes Society of America 8, special issue (1988): 103–15.

xxxii

introduction

Rather more straightforwardly, even a glance at a few entries here will reveal that both the individual nature and the cultural uses of these items vary greatly. Besides such clergymen as we have seen sparring, the people who wrote passages here include (among hundreds of others) a princess, a painter, a Harvard graduate, a counterfeiter, a duke, a diarist, an astrologer, a philosopher, a midwife, a spy (he calls himself an “intelligencer”), a tapestry-maker, and a missionary to Virginia and Barbados. And, as one might hope, many of their entries have their own special interest. The princess, for example, was James I’s daughter Elizabeth, whose marriage celebrations in 1613 featured a couple of men dressed as Don Quixote and Sancho Panza. The astrologer (or at least one of them) was William Lilly, who had a horse named “Roznante.” The tapestry-maker was probably Francis Poyntz, some of whose handiwork depicting Don Quixote was hung on the walls of Charles II’s bedchamber at Whitehall. The missionary to Virginia and Barbados, judging from his writing, considered himself to be The Negro’s & Indians Advocate. And among many others who might be singled out, the philosopher Thomas Hobbes emerges here as perhaps the first Englishman to touch seriously on the subject of Don Quixote’s madness. Then again, many of the people given a voice here have names that have seldom if ever been heard or read for well over three hundred years. And many entries have no author’s name at all. Collocating such a broad range of writers, famed and forgotten alike, has brought to light, among other things, arts other than writing. One catches glimpses here of weaving, singing, acting, engraving, and painting. Even dancing: there was a dance called the “Sancho-Panzo.” Writing, nevertheless, is obviously our mainstay. Here are varieties of verse from writers known well to literary historians, men such as Michael Drayton, John Suckling, Andrew Marvell, and Samuel Butler. Here are prose entries by Robert Burton, Daniel Defoe, and Samuel Pepys. And here are entries from early plays by Ben Jonson, John Fletcher, and Philip Massinger, by mid-century dramatists such as William Cartwright, Thomas Randolph, and William Davenant, and by Restoration dramatists such as William Wycherley, William Congreve,55 and Aphra Behn. Behn, it turns out, a woman well attuned to the taste of her time, took note of Don Quixote in at least five of her plays. All things considered, in fact (including the earlier comments here on Cervantes’s novelas and English plays), all of the playwrights who borrowed from the Spanish knight and his squire should probably be recognized for having a singular importance here, since the words that each wrote were not merely read privately but also memorized, rehearsed aloud among the players, and then spoken on stages for audiences in theaters. Surely these playwrights must have assumed that their passing allusions to 55

Seventeenth-century items in Congreve’s library included Italian translations of Cervantes’s Novelas ejemplares, editions of Don Quixote in Spanish, French, and English, and a Spanish–English dictionary (John C. Hodges, The Library of William Congreve [New York: New York Public Library, 1955], 33, 41, 45).

introduction

xxxiii

Cervantes’s work would be recognized by a fair number of both players and playgoers. Thus we may assume so, too. What, then, do all these diverging kinds of entries say about Cervantes the man?56 The answer, unfortunately, is “virtually nothing.” Thomas Shelton’s Don Quixote, pt. 1, which for a rather long time was nearly everyone’s main source of information about the writer, never so much as mentions him. The further fact is that for a good many years afterward the English continued to know only Cervantes’s works. Moreover—and to the dismay of many latter-day readers—most early readers saw little but wit and humor in Don Quixote. As P. E. Russell puts the case, they and all the rest of Europe saw “simply a brilliantly successful funny book.” 57 Russell goes on to add, guardedly but significantly: “I do not think that I am denying it either profundity as a work of art, or its own kinds of seriousness.” Anthony Close says much the same thing: “Considered as artistic creativity, comedy, including its robuster forms, is, potentially, no less rich and thought-provoking than any other mode.” 58 Wherever one stands on the matter of interpreting Don Quixote, it would be well to keep in mind the important truth that Cervantes himself loved comedy, even slapstick. What else did English writers see in Don Quixote? Probably most significantly they saw and understood Cervantes’s affectionate mockery of the libros de caballerías. On this subject (and before jumping into any heated fray) we probably should remind ourselves that Cervantes’s impugning of these works is by no means unprecedented.59 Cervantes is, moreover, selective. For one thing, he never attacks chivalry itself. Furthermore, in the great auto de fé conducted by the priest, the barber, and Don Quixote’s niece and housekeeper, Cervantes burns no books published after 1591. 60 56 57

58 59

60

A. P. Burton has a go at this question in “Cervantes the Man Seen through English Eyes in the Seventeenth and Eighteenth Centuries,” Bulletin of Hispanic Studies 45 (1968): 1–15. “Don Quixote as a Funny Book,” Modern Language Review 44 (1969): 313. Among the many discussants of this major issue, Daniel Quilter makes the interesting observation that in Spain itself “The Interpretation of Don Quijote in the theater as well as in public masquerades shows that Cervantes’ knight was appreciated by many as a purely comical and ridiculous figure” (“The Image of the Quijote in the Seventeenth Century,” Ph.D. diss., University of Illinois [1962], 62). See also Ronald Paulson, Don Quixote in England: The Aesthetics of Laughter (Baltimore: Johns Hopkins University Press, 1998); and, one of the most impressive works on the subject, Anthony Close’s Cervantes and the Comic Mind of His Age (Oxford: Oxford University Press, 2000). Close observes at one point that Cervantes’s “conception of laughter’s cheering, therapeutic power aligns him with Renaissance humanism (Erasmus, Rabelais, Burton) rather than with his own ethnic traditions . . . ” (p. 332). See also Close’s “Cervantes frente a los géneros cómicos del siglo XVI,” Actas del tercer coloquio internacional de la asociación de cervantistas (Barcelona: Editorial Anthropos, 1993): 89–103. Close, Cervantes and the Comic Mind, 5. Martín de Riquer and José María Valverde list among other earlier critics Luis Vives, Antonio de Guevara, Juan de Valdés, and Luis de Granada; see Historia de la literatura universal (Barcelona: Planeta, 1971), 3:209. Notable additions to any such list might include also Saint Teresa of Ávila (though in her youth she tried her hand at writing a romance) and Saint Ignatius of Loyola (whose favorite reading was once books of knight-errantry). Close, Cervantes and the Comic Mind, 57. Ruth S. El Saffar observes that Cervantes, having read and found pleasure in many romances, managed in Don Quixote not only to put to work his

xxxiv

introduction

In any case, English readers probably knew well enough what Cervantes had in mind, since some of them had surfeited (or watched others surfeit) on English versions (sometimes in multiple volumes) of the peninsular Amadís de Gaula (See Fig. 2), Esplandián, Florisando, Don Belianis de Grecia (see Fig. 19), Espejo de príncipes, El caballero del Febo, Don Florando de Inglaterra, Palmerín de Oliva, Primaleón, and Palmerín de Inglaterra. To be sure, in the English heyday of chivalric romances these volumes were warmly received. Even rather late, in his Defence of Poetry (1595), England’s own Sir Philip Sidney claimed to know men who through reading Amadís had “found their hearts moved to the exercise of courtesy, liberality, and especially courage.”61 On the other hand, chivalry and its accoutrements were fading from the English cultural scene in the closing years of the 1500s. In 1594 Thomas Nashe ventured to make knightly pageantry look silly in The Unfortunate Traveller. On London’s stage that year, Thomas Heywood’s Four Prentices of London with the Conquest of Jerusalem took a different path to a comparable end. And in a comic prose narrative of 1600 the anonymous author of The Heroicall Adventures of the Knight of the Sea tried his best to laugh chivalric romances off the scene. Even more pertinent here, however, is Francis Beaumont’s dramatic burlesque called Knight of the Burning Pestle (1607). In opening this play Beaumont loses no time before introducing Rafe, a grocer’s apprentice, reading Palmerin of England to two younger apprentices. And soon afterwards he sends Rafe himself off on a series of knightly adventures. Though the pros and cons regarding Cervantine influence on Knight of the Burning Pestle have been contested over the years, it does seem likely that this comedy, with its sendup of knightly adventures, owes at least a little something to Don Quixote. Nahum Tate, indeed, went so far as to say that “Knight of the Burning Pestle was a sort of Quixot on the Stage.”62 In the real life of the seventeenth century, though Englishmen of high station liked to display vestiges of the chivalric in their portraits, the fundamental idealism and individualism of knight-errantry that are portrayed so vividly in Don Quixote were for many people giving way to the more mundane demands of citizenship and public duty.63 In 1610, when Ben Jonson wrote The great knowledge of them but also to exercise “an active critical intelligence” (“The Truth of the Matter: The Place of Romance in the Works of Cervantes,” in Romance: Generic Transformation from Chrétien de Troyes to Cervantes, ed. Kevin Brownlee and Marina Scordilis Brownlee [Hanover, NH: University Press of New England, 1985], 241). 61 62 63

A Defence of Poetry in Miscellaneous Prose of Sir Philip Sidney, ed. Katherine Duncan-Jones and Jan Van Dorsten (Oxford: Clarendon Press, 1973), 92. Preface, A Duke and No Duke (London, 1693) sig. c2v . Arthur Ferguson, The Chivalric Tradition in Renaissance England (Washington, DC: Associated University Presses for the Folger Shakespeare Library, 1986), 139. “Chivalry had not died,” Ferguson writes, “but it had receded into the background of a culture more variegated and eclectic than ever before, and growing less congenial to it by the year. Any attempt to revive it had therefore to be romantic in the special historical sense of a more or less conscious attempt to evoke the spirit of an age admittedly gone beyond recall except through the good offices of the historical imagination” (p. 12). Alex Davis also sees a lingering of chivalry in seventeenth-century England, but he veers

introduction

xxxv

2. Amadis, whom Don Quixote considers to be the finest of chivalric heroes, is introduced in the first chapter of Don Quixote, pt. 1, and thereafter mentioned more frequently than any other knight-errant. This woodcut depicts him with his wonderful steed Bayard on the first leaf of The Most Excellent and Famous History of the Most Renowned Knight, Amadis of Greece, Surnam’d the Knight of the Burning Sword (1693). Such a date suggests that Amadis appealed to some English readers even late in the seventeenth century.

xxxvi

introduction

Speeches at Prince Henries Barriers, he had the seer Merlin say to the Lady of the Lake: Stay, me thinkes I see A Person in yond’ cave. Who should that bee? I know her ensignes now: ’Tis Chevalrie Possess’d with sleepe, dead as a lethargie: If any charme will wake her, ’tis the name Of our MELIADUS.64

The latter, of course, was the promising young heir apparent himself, who soon, in 1612, would prove as ill-fated as Chevalrie herself. A short time later, in 1613, came Robert Anton’s Moriomachia. A miniature burlesque of chivalric romance, Moriomachia on its opening page introduces a bull in a meadow. When the bull is mistakenly milked by none other than the Fairy Queen herself, she, realizing her mistake, transforms the bull to a man and dubs him Tom Pheander, the Maiden Knight, who eventually becomes known as the Knight of the Sun. Besides the mock-chivalry that permeates this work, Moriomachia is of interest here for specifically naming Cervantes’s knight in its closing paragraph. Referring to the combat between the Knight of the Sun and the Knight of the Moon, Anton writes: So this (little dangerous) Combate was ended, which since the baitell betweene Clineasse and Dametasse the like hath not bin heard of, save only that of Don Quishotte and the Barbor, about Mambrinoes inchaunted Helmet. (sig. C1v )65

With regard to both its overall theme and its specific reference, Moriomachia appears to be the earliest example we have of Cervantes’s impact on English fiction. Along with a good deal of other evidence concerning the broad and muchdiscussed subjects of comedy, wit, and humor in Don Quixote (subjects that overlap with neighboring areas of discourse such as burlesque, parody, satire, and carnival), the present compilation brings to light at least one rather delightfully fresh subject. Though it would be rash to claim that anything linguistic is unique, surely one particular verbal aspect of the seventeenthcentury English reception of Don Quixote may be claimed as rather remarkable. Not merely once but on a variety of occasions the scattered English writers cited here reflect and actually participate in the sheer fun of Don from Ferguson when he describes chivalry as “a system of social distinction, and as such enduringly influential” (Chivalry and Romance in the English Renaissance [Cambridge: D. S. Brewer, 2003], 238). 64 65

The Workes of Benjamin Jonson (1616), 973. In Arthurian romance the father of Tristan, Meliadus, was at one point rescued by Merlin. Perhaps to enhance its humor, the book is set mostly in black-letter type reminiscent of the old romances. Worth noting here also is Howard Mancing’s observation that Don Quixote’s own focus on chivalry fades considerably toward the close of Don Quixote, pt. 1. In pt. 2 it declines so much, writes Mancing, that Don Quixote “hardly exists as a knight-errant at all”; see The Chivalric World of “Don Quixote” (Columbia: University of Missouri Press, 1982), 133.

introduction

xxxvii

Quixote by playing with his name. They invent the adjectives “Quixotticall” (1642), “Quixot-like” (1664), “Don Quick-sottish” (1687), and “Quixotian” (1695); the past participle “Don quixoted” (1658); and the nouns “DonQuichoterie” (1659), “Quixotry” (1665), “Donquixoting” (1674), “Quixolisme” and “Quixot-Chivalry” (1681),“Don-quick-sotisms” (1684), “Quicksot” (1694), “Quixotism” (1698), and “Don Quixotissimo” (1698). They even find occasion to refer to a “she-Donna Quixot” (1680) and a “shee-Quixot” (1697). In short, both the nature and the contagious fun of the character Don Quixote were actually adapted, incorporated, and made manifest in fresh English words. There is no doubt that seventeenth-century English writers put Don Quixote to work toward their own ends, both linguistically and otherwise. Though their individual motives sometimes coalesce and blur, a reader of these writers soon sees fairly clearly that they aim to satirize, mock, mimic, amuse, teach, explain, argue, rail, describe, enliven, decorate, and denigrate—and probably more besides. In short, they pursue their many and varied ways to a great variety of ends. Many times these ends seem clear enough (as do, for instance, the passages cited here earlier from a handful of clergymen), but the fact remains that no matter how hard we latecomers try, all of the writers cited here come to us from a world we can never fully know. What we have to work with, nevertheless, is something valuably akin to hundreds of snapshots of individual minds that either casually or thoughtfully contemplated and found some use for a literary phenomenon that we, too, may contemplate: el arte cervantino. These long-ago English minds were reacting in their various ways to whatever it was that they perceived and found useful in Cervantes’s work. Obviously they were responding more fully to Don Quixote than to any others of Cervantes’s works, and within Don Quixote they were responding not only to Don Quixote and Sancho Panza themselves, but also to Cervantes’s themes of madness and sanity, being and seeming, past and present, story and history. And from their reactions we can sometimes catch glimpses of their own complicated, multivalenced, long-gone world. While coming to terms with such details as are manifested here—details that became more numerous as the days and weeks of seventeenth-century England rumbled by—we should not overlook the need to glance up and consider also what was happening across the Channel. Probably most important for us to know here, as Harriet C. Frazier has observed, is that “the undisputed center of Don Quixote interest in the early Seventeenth Century was France.”66 After L’Ingénieux Don Quixote de la Manche was translated by César Oudin and published in 1614, the French demand for one version or another of Cervantes’s book grew so great that some fifteen French editions had appeared by 1665.

66

A Babble of Ancestral Voices: Shakespeare, Cervantes, and Theobald (The Hague: Mouton, 1974), 110.

xxxviii

introduction

England had at that time seen but four. Though this early interest of the French in Don Quixote would eventually taper off considerably, it proved to be an important catalyst in sparking English interest. Something of a turning point for England seems to have been reached soon after 1660, in fact, when the royal entourage returned from exile and Charles II ascended the throne. As Frazier puts the case, “The restored monarch and his cavalier fellows absorbed the high French reputation of Cervantes, and English enthusiasm for Don Quixote finally begins in earnest during the Restoration” (p. 111). Ronald Paulson has suggested that Don Quixote’s “aping” of chivalry was transmuted by the French to the aping of fine manners, and that the resulting element of social disruption came to be manifested in the fops of England’s Restoration comedy. More certain is his statement that in England the aping was attributed by “Stuart spokesmen . . . to the more urgent subject of disruptive figures who, in the wake of the Civil War, represented madness in religious terms as enthusiasm, in political terms as treason, and in practical terms as hypocrisy.”67 Insofar as England’s French connection is concerned, then, we should not be surprised to discover that a number of the works that turn up in the present volume were originally cast in the French of such authors as Jean Pierre Camus and Jean Puget de la Serre, Charles Sorel, Honoré D’Urfé, and Paul Scarron, as well as Pierre Daniel Huet, René Rapin, Vincent Voiture, Gabriel de Brémond, Charles de Saint-Denis de Saint-Évremond, and Marie-Catherine Le Jumel de Barneville d’Aulnoy—all of whom concerned themselves with Cervantes. Quite simply, France played a significant role in helping Cervantes become more widely known in seventeenth-century England. All in all, of course, it was thanks to a complex mix of elements in the latter half of the century that Cervantes achieved the remarkable acclaim in England that he did. As early as 1652, Peter Heylyn, a Church of England clergyman, took an unusual tack by praising Don Quixote as one of those books that may be of very good use to Children or young boys in their Adolescency. For besides that they divert the minde from worse cogitations, they perfect him that takes pleasure in them in the way of Reading, beget in him a habit of speaking, and animate him many times to such high conceptions as really may make him fit for great undertakings.68

But attention and acclaim did not gain their full momentum until the 1690s. In 1691 the bookseller-publisher John Dunton went so far as to call Cervantes “a vast genius.”69 In 1694, James Drake opined that not even Spain’s Indies 67

68 69

Paulson, Don Quixote in England, 8. One of the strongest and best-remembered examples of Paulson’s point would be Samuel Butler’s Hudibras, wherein the self-righteous Presbyterian protagonist goes questing with his Independent squire Ralpho. Heylyn, Cosmographie in Four Books (London, 1652), 196–7. Dunton makes this remark in the second volume of his Voyage Around the World (London, 1691), sig. A3r , 2nd pagination.

introduction

xxxix

could “boast so rich a Mine” as Cervantes. 70 And when the disgruntled Jeremy Collier was moved to castigate the playwright Thomas D’Urfey in 1698, he did so in part by saying that D’Urfey’s borrowing from the “ingenious Author” Miguel de Cervantes was a matter of D’Urfey having “wisely planted himself upon the shoulders of a Giant.”71 It had taken a while to reach this point, to be sure, but in the eyes of this late seventeenth-century English critic, the Spanish writer who wrote so much about giants had himself become one. When all is said and done here, one may be sure that still more seventeenthcentury English references to Cervantes’s work will turn up from time to time, either in places still more difficult to access than those where we have looked (in particular, the world of manuscripts) or even in places where we have looked but failed to see. It is obvious that the items recorded here become much more numerous as year follows year, irrefutably manifesting a growing familiarity with Cervantes’s work. Qualifying and enabling this fact, however, are at least a couple of others. First, it is generally agreed that literacy for both men and women rose significantly during the course of the century. There simply were more people to read more publications.72 And, second, the number of publications inspired and empowered by England’s tumultuous civil, religious, and military life dramatically sky-rocketed in the 1640s. Though the total number of publications varied in the years after that, they never again sank back to pre-Civil War levels.73 On the other hand, however many Cervantine references ever existed, the probability is that a certain amount of pertinent evidence has now vanished forever. Whether or not the play was ever published one cannot say for sure, but one tantalizing illustration of such a loss in England appears to be that of the play Cardenio (or Cardenno), which was performed by the King’s Men, Shakespeare’s company, in 1612 or 1613. Conceivably written by Shakespeare or by Shakespeare and Fletcher (and the latter, as we have seen here, certainly based some of his plays on Cervantes’s fiction), Cardenio seems very likely 70 71 72

73

Drake, “On the Works of Rabelais Translated,” in The Works of F. Rabelais, M.D. (London, 1694), sig. h4v . Collier, A Short View of the Immorality, and Profaneness of the English Stage (1698), 196. David Cressy, “Literacy in Context: Meaning and Measurement in Early Modern England,” in Consumption and the World of Goods, ed. John Brewer and Roy Porter (London: Routledge, 1993), 305–19. W. B. Stephens concludes that in the mid-seventeenth century about 30 percent of men could sign their names (no guarantee, of course, that all were readers), a figure that rises to about 45 percent by 1714; and about 10 percent of women could sign their names by 1600, a figure rising to about 45 percent by 1714; see Stephens, “Literacy in England, Scotland, and Wales, 1500–1900,” History of Education Quarterly 30 (1990): 554. Alain Veylit, “Some Statistics on the Number of Surviving Printed Titles in Great Britain and Dependencies from the Beginnings of Print in England to the Year 1800,” 21 July 2005 . The overall dynamism of the situation is succinctly defined in a sentence by Jody Greene: “Increases in literacy, the growth of cities, improved technologies of printing and paper manufacture, the influx of capital from international commerce, and above all the new willingness of authors to make public works that a century before would have been restricted to private circulation led to an explosion in the number of printed works”; see “Francis Kirkman’s Counterfeit Authority: Autobiography, Subjectivity, Print,” PMLA 121 (2006): 22.

xl

introduction

to have owed something to Cervantes’s embedded tale of the noble madman encountered by Don Quixote and Sancho Panza in the wilds of the Sierra Morena.74 A less famous example of loss, but one that left more footprints in the sands of time, is The History of Donquixiot [sic], or The Knight of the Ill-favoured Face; a Comedy. This work was advertised several times, probably first in 1658 when it was said to be among “Books very lately Printed, and in the Press now printing.”75 These latter phrases would seem to bespeak real copies of extant books, even if no such books survive. At such a juncture as this, therefore, one might recall the claim of some scholars of our own time that the most popular of early books were those least likely to survive. Is it really possible that all copies of this version of Don Quixote were read to rags? No one now can say either how numerous such publications may have been or what they might have added to our understanding here, but some scholars postulate that perhaps as many as a third of the works published in seventeenth-century England have disappeared.76 However many books have been lost, the present cache of quotations is considerably larger than what one has had to work with previously, and it should help to answer or, better still, to trigger a number of questions. One of the simplest and most predictable of all might be “What episode in Cervantes is mentioned most frequently in the entries here?” It should surprise no one, however, that early modern England’s best-remembered action from Don Quixote concerns the knight’s assault on a windmill.77 One writer in 1681 simply refers to him as “Don Quixot, the Knight of the Windmill.”78 On the other hand, if one were to ask which one of Cervantes’s shorter narratives played a significant role in no fewer that a half dozen seventeenth-century English plays, few readers could reply with much assurance. And no wonder, for the true but tricky answer turns out to be not one of the Novelas ejemplares but the story of El curioso impertinente, which is embedded but apart, within Don Quixote, pt. 1 (pp. 33–5). More straightforward but nevertheless thoughtprovoking, who would have guessed that Sancho Panza’s doctor in Barataria

74

75 76

77

78

Though students of the subject have tended to be dubious, Charles Hamilton has argued that Cardenio actually survives as the play now known as The Second Maiden’s Tragedy (Cardenio, or, The Second Maiden’s Tragedy [Lakewood, CO: Glenbridge, 1994]). From a list of books sold by Nathaniel Brooke at the Angel in Cornhill, printed at the back of Thomas Flatman’s Naps upon Parnassus (1658), sig. H1r . Joad Raymond approaches this subject in his book on the disappearance of a particularly vulnerable kind of publication: Pamphlets and Pamphleteering in Early Modern Britain (Cambridge: Cambridge University Press, 2003). The windmill episode not only proves to be a sort of microcosm of the action in the entire book but also introduces the concept (in Shelton’s English) of “Windemils in . . . braines” (DQ 1.8, p. 53). Wolfgang Mieder explores both of these subjects in “From ‘Windmills in One’s Head’ to ‘Tilting at Windmills’: History and Meaning of a Proverbial Allusion to Cervantes’ Don Quixote,” Proverbium 23 (2006): 343–418. See also The Oxford Dictionary of English Proverbs, comp. William George Smith, ed. F. P. Wilson (Oxford: Clarendon Press, 1970; repr. 1975), 894. News, from the Land of Chivalry (London, 1681). sig. A1v .

introduction

xli

(who does not appear until the forty-seventh chapter of pt. 2) would be mentioned so frequently? Why and how did this come about? For any or all of us latecomers who arrive four centuries or so after the writers of the entries in this volume, the answers to some of the periodbound questions raised here are bound to be obscure. Fairly frequent attempts have been made here, therefore, to contextualize entries that might remain opaque without editorial help. On the other hand, in dealing with a century when England was often undergoing political change or religious strife, simply recognizing a name or the date of an entry may sometimes suffice to help a reader understand. Once understood, entries of this sort—even routine entries recording only that a popular work has been published yet again— can tell us a little something more about early readers and their awareness of Cervantes. But what, one might ask, is to be made of any or all these facts? This much having been said here in an attempt to introduce the seventeenthcentury English reception of Cervantes, it may be fitting to trust Cervantes himself with the closing words here. Of course, they are not totally clear. Two years before his death, Cervantes wrote hopefully in the fourth chapter of his Viaje del Parnaso (published in 1614 between the two parts of Don Quixote): Yo he dado en Don Quijote pasatiempo al pecho melancólico y mohíno en qualquiera sazón, en todo tiempo.79

In 1615, in the second part of Don Quixote itself, as if reinforcing the point, he expressed the hope that readers (presumably even scholarly ones) might realize that Don Quixote was written “Para gusto y general pasatiempo de los vivientes.”80 And the last sentence of his Prólogo to Persiles y Sigismunda, which may be the last sentence he ever wrote, begins thus: “¡Adiós, gracias; adiós, donaires; adiós, regocijados amigos . . . !” 81 Perhaps most apposite here, however, especially with the knowledge that Cervantes was always alert to the complexities confronting writers and readers, he has his narrator of Don 79

Quoted from Capítulo IV in Poesía, in Obras completas, 3:576. Close translates: “In Don Quijote I have given diversion to the melancholy and dejected breast for all times and seasons” (Cervantes and the Comic Mind, 24). For the Burton Raffel and Diana de Armas Wilson edition of Don Quijote, Elias L. Rivers translates the passage thus: With Don Quijote, I’ve given cause for joy to the melancholy and the fretful soul at any time of day or night or year. (p. 752)

80

From the fortieth chapter of Don Quixote, pt. 2. The 1620 English translation reads: “to the delight and generall recreation of mortalls” (p. 257). Burton Raffel translates: “for the pleasure and entertainment of those who shall live after you” (p. 566). Rutherford translates: “for the pleasure and entertainment of everyone in the world” (p. 750). Cited from Persiles y Sigismunda in Obras completas 4:404. Raffel translates: “Goodbye, humor; goodbye, wit; goodbye, merry friends” (Don Quijote, 753).

81

xlii

introduction

Quixote at one point quote a document by Cide Hamete Benengeli that offers some advice for all of us. Almost as if to set us free, he writes “Tú, lector, pues eres prudente, juzga lo que te pareciere” 82 In the words of its first printed translation into English: “Thou, Oh Reader, as thou art wise, judge as thou thinkest good.” 83 In plain English we have a simple “Reader, you decide.” D. B. J. R.

82 83

Don Quixote in Obras completas 1:731. Don Quixote (1620), 2.24, p. 157. Raffel renders this: “You, reader, as a sensible man, are perfectly capable of making up your own mind” (p. 487). Rutherford translates: “You, wise reader, must make up your own mind” (p. 648).

@

1605

#

1. Hales, John, Benefactors’ Register, Bodleian Library John Hales (1584–1656), who in his later years would be praised by Andrew Marvell as “one of the clearest heads . . . in Christendom,”1 was in his youth an admirable scholar of Corpus Christi College, Oxford. He was graduated B.A. (1603), entered holy orders, and proceeded M.A. (1609), and in the time between his two degrees, while still quite young, he was chosen by Sir Thomas Bodley to tend to the recording of gifts presented to Bodley’s then new library at Oxford. In 1605, therefore, it was Hales who recorded in the massive folio Benefactors’ Register in the Bodleian Library at Oxford University that in 1605 Henry Wriothesley, Earl of Southampton, Shakespeare’s patron and friend, had donated £100 for the acquisition of Spanish books. One of the latter proved to be a very early edition of the first part of Miguel de Cervantes Saavedra’s El ingenioso hidalgo Don Quixote de la Mancha (Madrid, 1605; see Fig. 3).2 Apparently the volume was purchased by John Bill, one of London’s leading booksellers, who had been charged by Sir Thomas Bodley to acquire books in Spain.3 His mission surely was fueled at least in part by the fact that English interest in Spain was peaking in 1604 and 1605. Anglo-Spanish peace was finally becoming a reality. In August of 1604 King James put Southampton in charge of England’s lavish celebrations connected with ratification of the peace treaty, and on the same day he was appointed to Queen Anne’s Council. Moreover, the King’s Men (Shakespeare’s company) were commanded to attend Juan Fernández de Velasco, the visiting Constable of Castile. Several months later, in 1605, Charles Howard, Earl of Nottingham, along with hundreds of other Englishmen sailed southward in order to seal the peace on Spanish ground. The Bodleian Don Quixote was but one item among over four hundred Spanish books and manuscripts that Bill managed to acquire on his buying trip. This may explain why it did not appear in the earliest catalogue of the Bodleian’s holdings. Ungerer has remarked that its absence there “implies that the novel was processed after July 1605, probably some time in early August, in 1 2

3

The Rehearsal Transpos’d (1672), 98. See also Basil Greenslade, Oxford DNB 24:551–2. Though printed in late December of 1604, the first edition was dated 1605. Francisco Rico’s El texto del Quijote (Valladolid: Centro para la Edición de los Clásicos Españoles, Universidad de Valladolid, 2005) throws much light on the vagaries of book-making at the time. Gustav Ungerer goes so far as to say that “John Bill deserves to be acknowledged as the agent who gained access for the Jacobeans to Spanish culture, in addition to being Sir Thomas Bodley’s and King James’s library agent, a sponsor of King James’s Authorized Version of the Bible and King’s Printer” (“The Earl of Southampton’s Donation to the Bodleian in 1605 and Its Spanish Books,” Bodleian Library Record 16 [1997]: 33).

2

cervantes in seventeenth-century england

3. Title page of El ingenioso hidalgo Don Quixote de La Mancha (Madrid, 1605), a very early edition of the first part of Don Quixote, a quarto published by Juan de la Cuesta. The latter’s frequent motto (“spero lucem post tenebras”: After darkness, I hope for light), perhaps based on Job 17:12, would eventually crop up in Don Quixote, 2.68. The dedicatee of the book was probably not very appreciative: Cervantes published three more books with Cuesta, but dedicated nothing else to Don Alonso Diego López de Zúñiga y Sotomayor, Duke of Bejár (1577–1619).

1605

3

any case just in time for John Hales to enter it in the Donations Register for the King’s visit on 30 August.”4 At the time of its purchase, as was not uncommon at the time, it probably was still in sheets. In any case, it was subsequently bound at the Bodleian and assigned the shelf number (4o C.31.Art.) which it retains to this day.5 2. Veiga, Tomé Pinheiro da, Fastiginia ou Fastos Geniales6 A good many Englishmen made their first acquaintance with Don Quixote and Sancho Panza as early as June of the year Don Quixote was first published. At a time when the book was already being received enthusiastically in Spain, more than five hundred Englishmen set sail with Charles Howard, Earl of Nottingham, for the purpose of ratifying and celebrating a long-anticipated treaty of peace between England and Spain. Once in Valladolid, Spain’s capital at the time, many of these northern visitors witnessed also the celebration of the birth of a royal Spanish prince. Thus many had the opportunity to see Cervantes’s two most famous characters as they were presented in a procession in the Plaza Mayor. Thursday, 9 June, was the day chosen for ratifying the Anglo-Spanish treaty, and on Friday, 10 June, there was a grand fiesta de cañas y toros por el nacimiento del Príncipe. Wherever other members of his extended entourage were situated on this occasion, Nottingham himself, as well as other Englishmen of note, shared with Spanish ladies-in-waiting the large balconies immediately beneath those reserved for Philip III. At one point in the festivities, having already observed various other elements in the grand procession of the day, the Portuguese traveler Pinheiro da Veiga (1566–1656) saw—and later recorded—the following: Y en esta folganza, para no faltar entremés, apareció un D. Quijote que iba en primer término como aventurero, solo y sin compañía, con un sombrero grande en la cabeza y una capa de bayeta y mangas de lo mismo, unos calzones de velludo y unas buenas botas con espuelas de “pico de pardal,” batiendo las ijadas a un pobre cuartago sucio con una matadura en el borde del lomo, de las guarniciones del coche, y una silla de cochero; y Sancho Panza, su escudero, delante. Llevaba unos anteojos para mayor autoridad, y bien puestos, y la barba levantada, y en medio del pecho una insignia de Cristo.

An English rendering of this reads: 4 5

6

Ibid. 29. See P. E. Russell et al., A Catalogue of Hispanic Manuscripts and Books before 1700 from the Bodleian Library and Oxford College Libraries (Oxford: Primer Congreso Internacional de Hispanistas, 1962), 50. Apparently this work survives in at least five manuscripts, four in Portugal and one in England at the British Library. It is quoted here from Fastiginia: Vida cotidiana en el corte de Valladolid, ed. Narciso Alonso Cortés (Valladolid: Ámbito Ediciones, 1989), 124. See also Relación de lo sucedido en la ciudad de Valladolid desde el punto del felicísimo nacimiento del príncipe . . . hasta que se acabaron las demostraciones de alegría que por él se hicieron, probably the work of Antonio de Herrera, also edited by Cortés (Valladolid: Colegio Santiago, 1916) and, more recently, Patricia Marín Cepeda, in Cervantes, 25/2 (fall 2005, pub. 2006), 194–270.

4

cervantes in seventeenth-century england And in the course of the festivity, in order that there be no lack of light entertainment, there was a Don Quixote who appeared toward the end [of the procession] as a knight-errant—alone, unaccompanied—wearing a large hat on his head and a raggedy cape and sleeves of the same material, velvet breeches, and good boots with sparrow-beak spurs pricking the flanks of a poor, dirty nag with a harness sore on the edge of its loin (a sore made by the ornaments of the coach and coach seat); and Sancho Panza, his squire, ahead of him. He [the “Don Quixote”] wore a pair of spectacles for an air of greater authority, and lifted his beard, and in the middle of his chest he wore a badge of Christ.

Concerning this early sighting, Gustav Ungerer observes: “It is arguable that a figure reminding Pinheiro de Veiga of Don Quixote was his personal response to the masquerade; but such a mock performance was quite in keeping with the Spanish court drama in Valladolid.”7 Though the passage as a whole is reasonably clear, it poses some questions. Among the easier is the fact that while Don Quixote is twice said to be alone, he is also said to be accompanied by Sancho: the problem dissolves if one envisions Sancho as marching ahead like an usher or herald, with Don Quixote, dignified and solemn, following at a distance suitable for participants in a parade. The two are together but apart. A question of another sort is raised by the badge said to be worn by Don Quixote: knights of the Spanish military and religious orders did, indeed, wear veneras on their chests, but the specific nature of the badge in question here remains to be clarified.

7

Ungerer, “Earl of Southampton’s Donation,” 36.

@

1606

#

3. Carleton, Dudley, Letter to John Chamberlain. PRO State Papers, 14/21, no. 22

In 1605 Dudley Carleton (1574–1632) was in Valladolid and a part of the entourage accompanying the Earl of Nottingham on his mission to ratify the Anglo-Spanish peace. Eventually knighted, created baron, and named Ambassador to Venice, and finally Ambassador at The Hague, Carleton in 1606 had already begun to write the letters that would assure him a small but comfortable niche in history. On 11 May of that year, along with a letter he wrote to his friend John Chamberlain (1553–1628), Carleton sent a letter he had picked up in St. Paul’s—at that time a major meeting place for exchanging gossip and news. The forwarded letter was from Sir Ralph Winwood, who was then an English agent to the States-General of Holland and a mutual friend of both Carleton and Chamberlain. In his own letter Carleton refers to Don Quixote’s challenge, perhaps an allusion to DQ 1.52:1 I send you a letter which I met with in Paul’s from Mr. Winwood. I made so bold with you to look for my name in it and have borrowed your Venetian proclamation, because you have seen it already and it will serve me for news where I go. In place of it I send you Don Quixot’s challenge, which is translated into all languages and sent into the wide world.2

Difficult as it would be to say which challenge of Cervantes’s knight Carleton has in mind here, it would be still more difficult to explain his closing clause, the literal meaning of which is far from the facts of the case. Hyperbole aside, however, his words suggest the remarkable popularity of the book.

1 2

Both here and throughout, “DQ 1” and “DQ 2” indicate the first and second parts of Don Quixote, and any second numeral indicates the chapter involved. Quoted from Maurice Lee, Jr., ed., Dudley Carleton to John Chamberlain 1603–1624 Jacobean Letters (New Brunswick, NJ: Rutgers University Press, 1972), 84.

@

1607

#

4. Beaumont, Francis, The Knight of the Burning Pestle This play, commonly thought to have been inspired by Don Quixote, was probably first performed at the Blackfriars in 1607. For its publication, see STC 1674 (1613). 5. Middleton, Thomas, The Phoenix. STC 17892. UMI 966:20 The Phoenix by Middleton (1580–1627), a comedy dating back to 1603–4, was first published and played at court for King James by Paul’s Boys in 1607.1 Many years later, in 1699, Gerard Langbaine—a serious student dealing with massive amounts of data—ventured to write of this play: “See the Story writ by Mignel [sic] de Cervantes, called, the Force of Love, being a Spanish Novel.”2 Presumably Langbaine had in mind here La fuerza de la sangre (The Force of Blood), one of Cervantes’s Novelas ejemplares. Then, much later, Frederick Fleay ventured to state that the play was founded on La fuerza de la sangre.3 These sources and this entry, however, are included here as an early, single, and cautionary sample of hypotheses gone wrong: Cervantes’s Novelas ejemplares was published first in Madrid in 1613. Another edition: STC 17893 (1630). 6. Middleton, Thomas, Your Five Gallants. STC 17907. UMI 895:11 Kawachi (133) dates this play in the range of 1604–7; Fleay (Biographical Chronicle, 2:94–5) says the play was acted about December 1607. Whatever the date, Middleton’s Pyamont, having been badly duped, in 4.8 expresses his anger in a way that pretty surely would not have occurred to him had the playwright not been familiar with what would prove to be the most famous incident in Don Quixote (i.e. 1.8). He fumes: No lesse then forty pound in faire gold at one lift . . . heart, nothing vexes mee so much . . . sfoote [sic], I could fight with a win-mill now. (sig. G3v )

7. Wilkins, George, The Miseries of Inforst Mariage. STC 25635. UMI 724:2

The main claim to fame of George Wilkins (fl. 1607), pamphleteer and playwright, is probably the fact that he either did or did not collaborate with William Shakespeare by writing some scenes of the play Pericles, Prince of Tyre. 1 2 3

Yoshiko Kawachi, Calendar of English Renaissance Drama 1558–1642 (New York: Garland, 1986), 130. Langbaine and Charles Gildon, The Lives and Characters of the English Dramatick Poets (1699), 99. Fleay, A Biographical Chronicle of the English Drama 1559–1642, vol. 2 (London: Reeves and Turner, 1891), 75. See also The Works of Thomas Middleton, Now First Collected, vol. 2 (London: Edward Lumley, 1840), 297.

1607

7

His own play called The Miseries of Inforst Mariage dramatizes the earlier part of the story of a double murder in 1604 by one Walter Calverley of Calverley Hall in the West Riding of York. Given the name “Scarborrow” in the play, the protagonist “lives in Tavernes, spending of his wealth,” and “not content to ryot out his owne” he “detaines” the “portions” of his sister and brothers (sig. E4v ). Earlier in the play, as Fleay first noted (Biographical Chronicle, 2:275), Scarborrow appears to allude to DQ 1.8 when he says: Now am I armd [sic] to fight with a Wind-mill, and to take the wall of an Emperor. 4 (sig. F1r )

Later in the century it would become clear that mention of fighting a windmill was likely to call to mind the famous fight in Don Quixote, 1.8. To assume that such an allusion crops up in the present case, however, one probably has to assume that Wilkins somehow had knowledge of at least the early chapters of Thomas Shelton’s translation of Don Quixote, which Shelton claimed to have written about 1606 or 1607. Other editions: STC 25636 (1611), sig. F1r ; STC 25637 (1629) sig. F1v ; STC 25638 (1637), sig. E4r .

4

Take the wall: these words are based on the age-old observation that he who walks closest to the wall is farthest from the gutter and its ills.

@

1610

#

8. Jonson, Benjamin, The Alchemist In the Stationers’ Register for 3 October 1610, there is an entry for “A Comedy called The Alchymist.”1 See 1612. It is noteworthy that registration not only of Jonson’s Alchemist but also of his Epicoene (see next entry) is officially recorded in 1610, apparently indicating the playwright’s awareness of Don Quixote about two years prior to the publication of Thomas Shelton’s translation. Notable also is the fact that according to Shelton’s dedicatory words in 1612, his Don Quixote was “Translated some five or sixe yeares ago” (sig. ¶2r )—that is, as early as 1607. No one can be sure just when the passages referring to Don Quixote were written (they could have been added later), but if Jonson wrote them as early as 1610, that fact would seem to add substance to the conjecture of Peter E. Medine that one of the two voyagers in Jonson’s long, mock-heroic poem “On the Famous Voyage” (i.e., “Epigram 133,” c.1610) was indeed Thomas Shelton.2 Jonson modeled this poem on classical tours of the underworld, but satirically depicted a miserable voyage made by two of his English contemporaries traveling in a rowboat on London’s filthy, reeking Fleet Ditch, a stream that began clear enough in the hills of Highgate and Hampstead but became infamously foul as it ran down toward London and the Thames at Blackfriars. In Jonson’s 1616 folio the poem opens thus: No more let Greece her bolder fables tell Of Hercules, or Theseus going to hell, Orpheus, Ulysses: or the Latine Muse, With tales of Troye’s just knight3 our faiths abuse: 4 We have a Shelton5 and a Heyden 6 got, Had power to act what they to faine had not. (pp. 813–14)

1

2 3 4 5

6

Edward Arber, ed., A Transcript of the Register of the Company of Stationers of London 1554– 1640 A.D., vol. 3 (London: privately printed, 1875–94; repr. Gloucester, MA: Peter Smith, 1967), 445. Peter E. Medine, “Object and Intent in Jonson’s ‘Famous Voyage,’ ” Studies in English Literature, 1500–1900 15 (1975): 97–110. Jonson recalls Virgil and his “tales” of Aeneas. Faiths abuse: i.e. such tales are beyond belief. Although “Shelton” is clearly the form given in Jonson’s folio, this traveler is sometimes identified, not very convincingly, as Sir Ralph Sheldon—and sometimes “Shelton” (see Ian Donaldson, ed., Ben Jonson [Oxford: Oxford University Press, 1985]), 668. Heydon: perhaps Sir Christoper Heydon, probably best remembered as a champion of astrology (ibid. 668).

1610

9

In short, the fabled heroes of old have been supplanted by the latter-day voyagers that the poet is now about to track. The situation is too complex to explore here, but Medine, fairly or not, argues that Jonson had little respect for Thomas Shelton, either as an impoverished minor poet said to be hiding somewhere with his concubine or as a translator of a Spanish book that to the classically oriented English poet appeared to be just another romance. 9. Jonson, Benjamin, Epicoene In the Stationers’ Register for 1610, there is an entry dated 20 September for “A booke called, Epicoene or the Silent woman by Ben Johnson” (Arber, Transcript, 3:444). See 1616. 10. Middleton, Thomas (?), The Second Maiden’s Tragedy. British Library MS: Lansdowne 807

Owing to its survival in a manuscript promptbook, apparently used by the King’s Men, the play which has long been known as The Second Maiden’s Tragedy (a nonce-title assigned by Sir George Buc, the official English censor) must be included among the earliest significant English works to borrow extensively from Don Quixote. Preserved in what appears to be a fair copy produced some time between 31 October 1609 and the close of May 1610, The Second Maiden’s Tragedy draws its subplot from the intercalated novela known in Spanish as El curioso impertinente and in English, at least since Thomas Shelton’s time, as The Curious Impertinent. Though Shelton’s translation of Don Quixote, published in 1612, may or may not have been available in some form to the playwright, the story was previously available in various Spanish editions and, in fact, spotlighted by being excerpted and printed in a dual-language volume published in Paris in 1608 and entitled Le curieux impertinent: El curioso impertinente. Most likely the work of Thomas Middleton (Cyril Tourneur has also been suggested as the playwright), The Second Maiden’s Tragedy relates the tragic story of two friends, Anselmus and Votarius (Anselmo and Lotario in the Spanish original, Anselmo and Lothario in Shelton’s translation). Votarius is kind enough to help arrange the marriage of Anselmus to a beautiful and virtuous woman who is named Camila in both the original Spanish and Shelton, but in the play is called simply the “Wife.” In source and play alike, the name of the wife’s waiting woman is the same: Leonela in Spanish, Leonella in English. When Anselmus foolishly and groundlessly decides to test the virtue of his wife, Votarius at first refuses his friend’s request that he undertake the task. Anselmus, however, presses Votarius very hard, Votarius reluctantly agrees, and both the wife and he himself ultimately succumb to temptation. Though the novela stresses the folly of the husband’s curiosity and the play emphasizes the sin of adultery, the English dramatist obviously was working with some version of Cervantes’s story. As Anne Lancashire writes in her edition

10

cervantes in seventeenth-century england

of The Second Maiden’s Tragedy, “Details of the source have . . . been carefully preserved; even some of the imagery and phrasing of the source is carried over into the play.”7 Most memorable, perhaps, is the playwright’s borrowing of Lothario’s first response to his friend’s ill-considered request. In Shelton it reads: Tell me Anselmo, if heaven or thy fortunes had made thee Lord and lawfull possessor of a most precious Diamante, of whose goodnesse and qualitie all the Lapidarists that had viewed the same would rest satisfied, and that all of them would joyntly and uniformely affirme that it arrived in quality, goodnes, and finesse to all that, to which the nature of such a stone might extend it selfe, and that thou thy selfe didst beleeve the same, without witting any thing to the contrary: would it be just that thou shouldest take an humour to set that Diamant betweene an Anvile and a hammer; and to trie there by very force of blowes whether it be so hard and so fine as they say?8

In the English play, Votarius pursues the same sort of questioning thus: What profit can return to you by knowing That which you do already, with more toil? Must a man needs, in having a rich diamond, Put it between a hammer and an anvil And, not believing the true worth and value, Break it in pieces to find out the goodness, And in the finding lose it? Good sir, think on’t! (Lancashire, Second Maiden’s Tragedy, 110–11)

7 8

Lancashire, ed., The Second Maiden’s Tragedy (Baltimore: Johns Hopkins University Press, 1978), 11. The History of the Valorous and Wittie Knight-Errant, Don-Quixote (1612), 352–3.

@

1611

#

11. Drummond, William, of Hawthornden, Catalogue of Library. National Library of Scotland, Hawthornden MS 2059 (vol. 8), fos. 370r –397r

In 1611 the Scottish scholar-poet William Drummond of Hawthornden (1585– 1649) listed Cervantes’s early pastoral narrative La Galatea (1585) among the volumes then in his private collection. Over the years Drummond had acquired a number of Spanish books, some in French translations (including four volumes of the Amadis) and some in their original Spanish.1 His relatively early acquisition of the lesser-known Galatea might nevertheless be somewhat puzzling unless one consider also that Drummond was a reader whose favorite fiction seems to have been Sidney’s Arcadia. Drummond was a man whose “library was otherwise full of Arcadias, shepherds, and courtly lovers” (Macdonald, Library, 131). Unfortunately, after quoting Drummond’s manuscript entry as “Galatea, diuida en seys libros,” Macdonald (Library, 222) problematically proceeds to wonder whether it might really refer to Giovanni della Casa’s Galatea. Since the latter’s work is actually entitled Galateo, however, and since it is not divided into six books, and since Cervantes’s pastoral is specifically “dividida en seys libros,” it seems clear that Drummond’s entry refers to Cervantes’s first long narrative publication. In other words, Drummond somehow acquired an edition of Galatea published either in Alcalá (1585), Lisbon (1590), or—also in Spanish— Paris (1611). 12. Register of the Company of Stationers of London Entry for 19 January 1611 (Arber, Transcript, 3:204): Edward Blounte [and] William Barret Entred for their Copy under th[e h]andes of master Edward Abbott and Th’wardens, A booke called, The delightful history of the witty knighte Don Quishote. . . . vjd

13. “Vadianus, Glareanus,” “Panegyricke Verses” in Coryats Crudities: Hastily Gobled up in Five Moneths Travels. STC 5808. UMI 1063:1

In commendatory verses for the famed traveler Thomas Coryate (c.1577–1617), “Glareanus Vadianus” places Don Quixote in a constellation of already familiar literary figures: 1

Robert H. Macdonald, The Library of William Drummond of Hawthornden (Edinburgh: Edinburgh University Press, 1971), 222–3.

12

cervantes in seventeenth-century england How should I sing thy worth in fitting layes, With starveling verses of an hide bound Muse, And crowne thy head with misletoe for bayes, Unlesse thy knapsacke did new thoughts infuse? Such Gallo-Belgicke Mercuries 2 are not chipt From every billet, nor each axle-tree: Nature her selfe in thee herselfe out stript When she produc’d this vagrant Humble-Bee, Whose buzze hath fild this worlds circled round, Hing’d on the Articke and Antarticke starre, And whose great fame finds now no other bound Then from the Magellan strait to Gibraltar. Whose glorious deeds out-face and fiercely daunt Guzman of Spaine, and Amadis of France, Uterpendragon, Urson, and Termagant, Great Don Quixot, and Joane of Orleance. (sig. l2r )

Don Quixote and his companions here are flagged with a shoulder note: These stories are found written in the Annales of the ebs & flouds of the Caspian sea, & in the third Tome of the wars between the Milt & the Splene. Tit. Diaphragma, cap. de Rumbis; whither for brevities sake I remit the Reader. For to set tales upon Fables is as directly against the Pragmaticks of Spaine, as to weare seda sobre seda, satten upon silke, or creame upon milke.

The name of Mateo Alemán’s picaresque hero of Guzmán de Alfarache (pt. I, 1599; pt. II, 1604) will recur frequently in entries here, though his story was not published in English until 1622. Amadís de Gaula (1508), begun by Garci Rodríguez de Montalvo, was a chivalric romance that would take on a life of its own in various later volumes, as well as figure importantly as a model for Don Quixote. Also in the potpourri here are Uther Pendragon (the title and name of King Arthur’s father); Urson (apparently Orson from the anonymous romance Valentine and Orson [c.1518], a story of twin princes that appeared in English at least thirteen times between 1637 and 1700;3 Termagant, a mythical deity thought to be worshiped by Muslims; and, of course, Joan of Arc. Also found in The Odcombian Banquet: Dished Foorth by Thomas the Coriat: STC 5810 (1611), UMI 728: 17, sig. P2v . Knowles (no. 1) notes the allusion to Don Quixote.4 2 3

4

Mercuries: early newspapers. Orson: stolen and reared by a bear (hence his name). Arthur Dickson observes that “ ‘Orson,’ to the seventeenth century, was almost synonymous with ‘wild man’ ” (Valentine and Orson: A Study in Late Medieval Romance [New York: Columbia University Press, 1929], 1). Edwin B. Knowles, “Allusions to Don Quixote before 1660,” PQ 20 (1941): 1. This is the first of forty-eight numbered allusions recorded in the 1941 article by Knowles. Further acknowledgment of his attributions will be noted here by the number he assigned to them.

1611

13

14. Wilkins, George, The Miseries of Inforst Mariage. STC 25636. UMI 1262:8

For a reference to one “armed to fight with a windmill,” likely an allusion to DQ 1.8, see STC 25635 (1607); in this edition, the passage is found on sig. F1r .

@

1612

#

15. Cervantes Saavedra, Miguel de, The History of the Valorous and Wittie Knight-Errant, Don-Quixote of the Mancha. Translated out of the Spanish. STC 4915. UMI 1302:1 This translation of the first part of Don Quixote (Cervantes did not put forth the second part until 1615) is both the first translation into English and the first translation into any language. Published by Edward Blount and William Barret, it is the work of Thomas Shelton (see Fig. 4). Though relatively few facts about Shelton himself survive, including the dates of his birth and death, he is known to have been born in Dublin to a Roman Catholic family. (His brother John was hanged for participating in a plot to take Dublin Castle, the main seat of English rule in Ireland.) Perhaps involved himself, the future translator was sent to school in Salamanca, where presumably he learned Spanish. Eventually he became a teacher somewhere in the vicinity of Brussels, and it is on the 1607 Brussels edition of Don Quixote that he based his spirited but rather literal translation. He dedicated it “To the Right Honourable His Verie Good Lord, The Lord of Walden, &c.,” that is, Theophilus Howard (1584–1640), son of Thomas Howard, first Earl of Suffolk. Eventually he would succeed his father as second earl, but as of 1610 Theophilus was baron of Walden, a highly visible young courtier styled Lord Walden. In dedicating Don Quixote to him, Shelton explains that he has undertaken the task of translating at the importunity of a “very deere friend.” Shelton never names that friend, but a handful of scholars have suggested that he may refer to the writer Thomas Lodge (1558–1625), who likewise was a Catholic refugee in Spanish Flanders.1 Shelton addresses Howard thus: Mine Honourable Lord; having Translated some five or sixe yeares agoe, the Historie of Don Quixote, out of the Spanish tongue into the English, in the space of forty daies: being thereunto more then halfe enforced, through the importunitie of a very deere friend, that was desirous to understand the subject: After I had given him once a view thereof, I cast it aside, where it lay long time neglected in a corner, and so little regarded by me as I never once set hand to review or correct the same. Since when, at the intreatie of others my friends, I was content to let it come to light, conditionally, that some one or other, would peruse and amend the errours escaped; my many affaires hindering mee from undergoing that labour. Now I understand by the Printer, that the Copie was presented to your Honour: which did at the first somewhat disgust mee, because as it must passe, I feare much, it will prove farre unworthy, either of your Noble view or protection. Yet since it is mine, though abortive, I doe humbly intreate, 1

See Anthony G. Lo Ré, “Thomas Lodge as the Most Likely Candidate . . . ,” in Essays on the Periphery of the Quixote (Newark, DE: Juan de la Cuesta, 1991), 9–27.

1612

15

4. Title page of John Shelton’s Don-Quixote, pt. 1. William Stansby, a major bookseller as well as a printer with one of the most impressive presses in London, produced this volume for Edward Blount, who was probably the most notable English publisher of his day. Operating at the time at the Black Bear in St. Paul’s Churchyard, Blount had merged forces for a time (1609–13) with William Barret—who himself, for another and later while, would flee abroad under suspicion of being a Roman Catholic.

16

cervantes in seventeenth-century england that your Honour will lend it a favourable countenance, there by to animate the parent thereof to produce in time some worthier subject, in your Honourable name, whose many rare vertues have already rend[e]red me so highly devoted to your service, as I will some day give very evident tokens of the same, and till then I rest, Your Honours most affectionate servitor, Thomas Shelton. (sig. ¶2r-v )

Another edition: The History of Don-Quichote. The First Parte, STC 4916 (1620). See also: The Second Part of the History of Don Quixote, STC 4917 (1620). Other editions of both parts: The History of the Valorous and Witty-KnightErrant, Don Quixote, C1776 (1652); The History of the Valorous and WittyKnight-Errant, Don Quixote, C1777 (pt. 1, 1675; pt. 2, 1672). Later years in the century brought a variety of other English versions of Don Quixote. Each of the following titles is given notice herein under the year assigned to it in this list: The Famous History of Don Quixote, C1772 (1686); The History of the Most Renowned Don Quixote, C1774 (1687); C1774A (1687); The Delightful History of Don Quixot, C1771 (1689); The Much-Esteemed History of the Ever-Famous Knight Don Quixote, C1778 (1699); The History of the EverRenowned Knight Don Quixote, C1773 (1700?); The History of the Most Ingenious Knight Don Quixote, C1773A (1700); The History of the Renown’d Don-Quixote, C1775 (1700). 16. Fletcher, John, and William, Shakespeare (?), Cardenno or Cardenna A now lost play on record as Cardenno was performed at court by the King’s Men during the winter season of 1612–13 and again in a special performance for the ambassador from the Duke of Savoy on 8 June 1613. Then after a hiatus of four decades, on 9 September 1653, among a number of other plays, Humphrey Moseley placed in the Stationers’ Register an entry for “The History of Cardenio, by Mr Fletcher & Shakespeare.”2 Since neither the name “Cardenno” nor “Cardenio” nor any similar name is assigned to a character in any known surviving English play of the period, and since a frustrated and crazed lover named Cardenio figures importantly in the first part of Don Quixote, it is reasonably clear that this particular lost play, whoever wrote it, was probably indebted to Cervantes. The story might have ended here but for the fact that Lewis Theobald (1688– 1744), well known as an editor of Shakespeare’s works, claimed not only that the play had survived but also that he had in his possession three manuscripts of it. Furthermore, he attributed it to Shakespeare—denying, at least to begin with, any contribution from Fletcher. It is now impossible to say what manuscript or manuscripts Theobald may or may not have had in hand, or what their origin 2

Available now in numerous places, the facts here are garnered largely from E. K. Chambers, William Shakespeare: An Account of Facts and Problems, vol. 2 (Oxford: Oxford University Press, 1930), 538; and The Elizabethan Stage, vols. 3 and 4 (Oxford: Clarendon Press, 1951), 189 and 127, 128, 180.

1612

17

and nature may have been—not least because such a manuscript was apparently lost in 1808 when the Museum of Covent Garden Playhouse burned down. In any case, having produced the play successfully for ten nights beginning on 13 December 1727 and then three times in 1728, Theobald in the latter year published his script as The Double Falshood: or, The Distrest Lovers. A PLAY as It is Acted at the THEATRE-ROYAL IN DRURY-LANE.3 The title page continues: “Written Originally by W. SHAKESPEARE; And now Revised and Adapted to the Stage By Mr. THEOBALD, the Author of Shakespeare Restor’d.” Though the frustrated Spanish lover with mad fits in Double Falshood is named not Cardenio but Julio, he does, indeed, leave Andalusian society to wander in “wild unpeopled Mountains” (p. 39) such as the Sierra Morena. In fact, Double Falshood as a whole is obviously and heavily indebted to Cervantes for its characters and plot. Whereas Harriet C. Frazier has found it likely that Theobald forged the play,4 A. Luis Pujante is one of those holding that Theobald, despite a shaky reputation for veracity, really may have based Double Falshood on the long-lost Cardenio—and that it is demonstrably dependent on Shelton’s translation of Don Quixote.5 Whatever the truth of its generation, the indubitably Cervantine Double Falshood has commanded scholarly attention because it has been considered Shakespearean. Discussion of it has even made its way into The Norton Shakespeare, where “The Oxford Editors” observe that “most of the dialogue seems un-Shakespearean. Though the play deserved its limited success, it is now no more than an interesting curiosity.” 6 17. Jonson, Benjamin, The Alchemist. STC 14755. UMI 757:1 In 1610, about two years before the first published translation of Don Quixote, Jonson (1572–1637) put on stage in The Alchemist an Englishman (Surly by name and disposition) who disguises himself as a Spaniard and quarrels with Kastril, an “Angry Boy.” In The Alchemist 4.7, as Emil Koeppel notes,7 Kastril denigrates Surly by comparing him to Don Quixote: It is my humour:8 you are a Pimpe, and a Trig, 9 And an Amadis de Gaule, or a Don Quixote. 3 4 5 6 7 8

9

(sig. K4v )

Double Falshood (London: Cornmarket Press, 1970), intro. Kenneth Muir, title page. Frazier, A Babble of Ancestral Voices: Shakespeare, Cervantes, and Theobald (The Hague: Mouton, 1974), especially “A Postscript on Motivation,” 146–52. Pujante, “Double Falsehood and the Verbal Parallels with Shelton’s Don Quixote,” Shakespeare Survey 51 (1998): 95–105. The Norton Shakespeare Based on the Oxford Edition, ed. Stephen Greenblatt et al. (New York: Norton, 1997), 3109. Regarding Cardenio, see also, inter alia, 1610: Second Maiden’s Tragedy. Koeppel, “Don Quijote, Sancho Panza und Dulcinea in die englischen Literatur bis zum Restauration,” Archiv für das Studium der neueren Sprachen und Literaturen 101 (1898): 93. Humour: in his prologue to The Alchemist Jonson observes that “manners, now call’d humours, feed the stage” (sig. A4v ). In his view, rather than being a built-in quality, physical or psychological, a humour is a self-chosen affection. Trig: a dandy, coxcomb.

18

cervantes in seventeenth-century england

At this point Drugger (whom Jonson terms a “tobacco-man”) adds “Or a Knight o’ the curious coxcombe. Do you see?” Thus three knights are in verbal play here: Jonson’s coupling of Don Quixote and Amadis (Don Quixote’s favorite hero in literature) is probably an indication of his own disdain for mere romances, and his combining of “Knight” and “curious coxcombe” appears to be a reference to The Coxcomb (1608–10), a play by Francis Beaumont and John Fletcher that is probably based in part on The Curious Impertinent (El curioso impertinente), a story embedded in Don Quixote 1.33–5. Another edition: J1007 (1680), p. 77 (sig. D3r ). Also found in Jonson’s Works: STC 14751 (1616), p. 663; STC 14752 (1616), p. 663; STC 14753 (1640), p. 493; J1006 (1692), pp. 230–1. 18. Throckmorton, John, Letter of 11 April 1612 to John Trumbull. Trumbull Papers, BL Add. MSS 72242–7428010

Sir John Throckmorton (fl. 1598–1616), sometime a soldier in the Low Countries but in 1612 serving in a diplomatic capacity in Holland under the lieutenant governor of Flushing, writes here to Trumbull (1576/80?–1635). The latter, who in early years began to learn Spanish from two Spanish gentlemen taken at sea by Lord Howard of Effingham, had gone on to make many other useful contacts in England’s Elizabethan civil service.11 Now, well into James’s reign and after serving as senior secretary in the embassy in Brussels, Trumbull himself had become chargé d’affaires. Trumbull was a man noted among other things for his familiarity with the book trade, and here in this letter of April 1612, he is asked to find a copy of Don Quixote for one of Throckmorton’s friends. Throckmorton, writing from Flushing, shares a bit of news about the probable match of England’s Princess Elizabeth to “the Palatine” Frederick, then closes with this postscript: I am entreated by a friend to help him to a book in Spanish called or written by one Don Couixetto de la Mancha; they say it is to be had in your parts or at Antwerp.

In addition to a number of editions put forth elsewhere, at least two Spanish editions of Don Quixote had by this time been published in Brussels itself, one by Roger Velpius (1607) and another by Velpius and Huberto Antonio (1611).

10

11

Quoted here from A. B. Hinds, ed., Report on the Manuscripts of the Marquess of Downshire Preserved at Easthampstead Park Berks, vol. 3, Papers of William Trumbull the Elder 1611–1612 (London: HMSO, 1938), 275. Sonia P. Anderson, Oxford DNB, 55:463–4.

@

1613

#

19. Anton, Robert, Moriomachia. STC 685. UMI 1226:8 The Moriomachia of Robert Anton (b. 1585), a young Cantabrigian who took his B.A. from Magdalene College (1609), is clearly indebted to Don Quixote— “indebted in both general conception and particular procedure,” as Charles Mish puts the case.1 Creating a short, satirical, and sometimes risqué parody of chivalric romances in general, Anton postpones specific reference to Don Quixote until the final moment of Moriomachia, when the maiden knight Tom Pheander does battle with Archmoriander Duncell dell Cinthia. Alluding specifically to Don Quixote, 1.21, Anton writes: So this (little dangerous) Combate was ended, which since the battell betweene Clineasse and Dametasse the like hath not bin heard of, save onely that of Don Quishotte and the Barbor, about Mambrinoes inchaunted Helmet. (sig. E2v )2

Among the appellations Anton assigns to Sir Tom, it should be noted, is “The Knight of the Burning Pestle.” 20. Beaumont, Francis, The Knight of the Burning Pestle. STC 1674. UMI 734:10

This play by Beaumont (c.1584–1616) was probably first performed at the Blackfriars in 1607, fairly soon after Don Quixote was first published in Spain. Whatever similarities between the two works may have been noted, and whatever conjectures may have been made then or later, the bookseller Walter Burre in 1613 goes out of his way in a dedicatory epistle to Robert Keysar to deny any kinship between Knight of the Burning Pestle and Don Quixote. He writes: Perhaps it [the Knight of the Burning Pestle] will be thought to bee of the race of Don Quixote: we both may confidently sweare, it is his elder above a yeare; and therefore may (by vertue of his birth-right) challenge the wall of him. I doubt not but they will meet in their adventures, and I hope the breaking of one staffe will make them friends; and perhaps they will combine themselves, and travell through the world to seeke their adventures. (sig. A2v ) 1

2

Mish, Short Fiction in the Seventeenth Century (Garden City, NY: Doubleday, 1963), 45. See also Gustav Becker, “Die erste englische Don Quijotiade,” Archiv für das Studium 122 (1909): 310–22. Don Quixote has long desired the golden helmet of Mambrino, and in DQ 1.21 he thinks he has acquired it. Actually it is only a barber’s brass basin, serving at the moment as a rain-hat.

20

cervantes in seventeenth-century england

Burre’s denial notwithstanding, many critics have insisted on the kinship of Rafe and Don Quixote.3 Other editions: STC 1675 (1635), no epistle; STC 1675a (1635/1661?), no epistle. In collections of plays: B1581 (1647), play not included; B1582 (1679), no epistle. 21. Jocquet, D., Les triomphes, entrees, cartels, tournois, ceremonies, et aultres magnificences, faites en Angleterre, & au Palatinat pour le mariage et reception de monseigneur le prince Frideric [sic] V Comte Palatin du Rhin . . . et de Madame Elisabeth, fille unique et Princesse de la Grande Bretagne.4 Following a dedication to the royal couple by D. Jocquet, this volume opens with a major and very long work entitled “Le voyage et les triumphes de Jason.” Frederick, of course, proves to be a “Nouveau Jason” who has recently departed from “Le Necker & le Rhin” for the “Thamise.” Henceforth, wherever “Les deux Amans” travel, they are royally entertained. Toward the end of the collection and constituting one part of the “Cartel des seigneurs et gentilshommes de la suitte du Monseigneur le Duc de Wirtemberg” there is a “Cartel pour les courreurs du Cuveau”—which proves to be a five-page section devoted to “Don Quixote, de La Mancha, Cavalierio de la Triste Figura.” Don Quixote proceeds to express himself at some length in French. He speaks of “ma nompareille Dulcinea,” of “mon ancien escuyer Sancho Pança,” and of Mambrino and Micomicana [sic],5 all of which leads eventually to a series of fourteen quixotic avowals or admissions. The fourteenth one is specifically concerned with the reading “des vieux Romains de Lancelot du Lac, des Amadis, des Palmerins, des Roldans [i.e. Rolands], des Tristans, & semblables.” Though it concludes with a reference to “la loyauté de l’amour,” the piece as a whole seems designed to be more generally than nuptially entertaining. For the purposes of the present volume, perhaps the most interesting aspect of this near final section of the book (it is followed only by a brief “Dixain pour la conclusion”) is that in 1613 Don Quixote is given so much to say directly to England’s princess and her new husband. The section closes with 3

4 5

Lee Bliss, for instance, remarks that some of the scenes in Beaumont’s play “seem too close to episodes in Don Quixote to be the result of serendipitously independent origin” (p. 365 in “ ‘Don Quixote’ in England: The Case for ‘The Knight of the Burning Pestle,’ ” Viator: Medieval and Renaissance Studies 18 [1987]: 361–80). See also Ronald Paulson, Don Quixote in England: The Aesthetics of Laughter (Baltimore: Johns Hopkins University Press, 1998), 217–18. This work was published in Heidelberg by G. Voguelein (1613). The entry here is based on a copy made in the Bibliothèque Nationale. The Princess Micomicona, who is useful here in the celebration as a beautiful royal presence, is based on Cervantes’s Dorotea, a farmer’s daughter, who has disguised herself as a princess in order to help Don Quixote and his friends (DQ 1.29).

1613

21

a long paragraph that switches from French to Spanish and ends with a list of Don Quixote’s honorifics, ending: “el ampara y remedio de los menesterosos, el miedo de los tyrannos, el espanto de los terribles, y la quinta essentia de todos los Cavalleros andantes.” The emphasis here is heavily tilted toward literary humor, but considering the historical occasion, the subject matter was not totally malapropos.

@

1614

#

22. Brathwaite, Richard, The Schollers Medley: or, An Intermixt Discourse upon Historicall and Poeticall Relations. STC 3583. UMI 829:1 A tireless writer, the country gentleman Brathwaite (1588?–1673) produced essays, characters, satire, even pastoral pieces, his best-remembered work being the anomalous Barnabees Journall (c.1638), “couch’d in a reeling rhyme.” Here in his Schollers Medley (as Knowles notes, “Allusions,” no. 2) he alludes to the transformation of Don Quixote. In a listing of “Histories,” Brathwaite concludes: And last of all (which in my judgement is worst of all) others with the phantasticke writings of some supposed Knights, (Don Quixotte transformed into a Knight with the Golden Pestle) with many other fruitlesse inventions, moulded onely for delight without profite. These Histories I altogether exclude from my Oeconomy, or private family. (p. 99)

The dual mention here of both Don Quixote’s metamorphosis and a pestle used as the weapon of a knight is a striking reminder of the title and events in The Knight of the Burning Pestle, which was first staged in 1607 and first printed in 1613. It would seem that Brathwaite found it natural and easy to link Cervantes’s Quixote with Beaumont’s Rafe—a grocer’s apprentice who becomes a pestle-wielding knight.

@

1615

#

23. Blount, Edward, in A Transcript of the Registers of the Company of Stationers of London1 On 5 December 1615, some three years after he published Thomas Shelton’s translation of Don Quixote, pt. 1, the publisher and bookseller Edward Blount may have thought he had (or would have) access to a viable translation— perhaps the work of Shelton—of pt. 2. Though Blount hardly would have known the details, an Aprobación de la segunda parte del ingenioso caballero don Quijote de la Mancha, de Miguel de Cervantes Saavedra had been granted in Madrid on 27 February 1615.2 The price of the printed book was set on 21 October that year, and that same day the corrector’s statement was signed. On 5 November the last of three formal approvals for publication was signed.3 And Blount from time to time did have informants on the continent. Then again, perhaps Blount had acquired a copy or at least heard talk of what proved to be the spurious and anonymous—or, better, pseudonymous— continuation of Don Quixote by Alonso Fernández de Avellaneda. Whoever the writer behind the name “Avellaneda” may have been (probably an Aragonese, and maybe, despite the coarseness, a cleric), his work had been published in Barcelona in 1614. This sequel has been variously evaluated over the years, Fitzmaurice-Kelly’s appraisal being among the most balanced when he writes of it as a “clever, brutal, cynical, amusing book.”4 But it is best remembered for its attack on Cervantes and for serving as the catalyst that made Cervantes hasten to finish his own sequel, with its insistent counterattack on Avellaneda. Regarding Edward Blount at this point, all we can be sure of is that the Stationers’ Register for 5 December 1615 records: Entred for his [“Master Blount” is specified in the margin] Copie under the hande of Master Sanford and Master Swinhowe warden The second part of Don Quixote . . . vid [.]

1 2 3 4

Arber, Transcript, 3:267r . K. Sliwa, Documentos de Miguel de Cervantes Saavedra (Pamplona: Ediciones Universidad de Navara, 1999), 364. Howard Mancing, The Cervantes Encyclopedia, vol. 1 (Westport, CT: Greenwood Press, 2004), 25. Fitzmaurice-Kelly, A History of Spanish Literature (London: William Heinemann, 1898), 239. In the introduction to their translation, John Esten Keller and Alberta Wilson Server go so far as to call it not only “a great novel” but also “an important masterpiece” (Don Quixote de la Mancha, Part II [Newark, DE: Juan de la Cuesta, 1980], pp. x, xii).

24

cervantes in seventeenth-century england

24. Brathwaite, Richard, A Strappado for the Divell. Epigrams and Satyres. 2 parts. STC 3588. UMI 1196:2 As Knowles notes (no. 3), the busy but light-weight country-gentleman poet Brathwaite refers to Don Quixote and Rocinante in “Upon a Poets Palfrey, Lying in Lavander, for the Discharge of his Provender.” Concerned, that is, with a poet’s steed and his feeding, Brathwaite writes: If I had liv’d but in Don Quixotes time, His Rozinant had beene of little worth, For mine was bred within a coulder clime, And can endure the motion of the earth, With greater patience. . . . (p. 158, 1st pagination)

25. Cocke, I., “To the Nameles Author,” in John Stephens’s Essayes and Characters Ironicall and Instructive. The Second Impression. With a New Satyre in Defence of Common Law and Lawyers. Divers Other Things Added & Every Thing Amended. STC 23250. UMI 1035:14 A Lincoln’s Inn lawyer, John Stephens first published his Satyrical Essayes, Characters, and Others: or, Accurate and Quick Descriptions Fitted to the Life of Their Subjects in 1615. In it he included a harshly negative piece entitled “A Common Player” (“The Statute hath done wisely to acknowledge him a Rogue”), which occasioned bad feelings between players and lawyers and naturally backfired on Stephens. That same year, therefore, in this second impression of Stephens’s collection, a friend who signs himself “I: Cocke” rises to his defense, claiming that Stephens’s detractor has stolen all his wit from other sources, including Don Quixote.5 In a commendatory poem addressed “To the nameles Author of a late Character entituled, an Excellent Actor, following the Wise,” Cocke writes: Couldst thou licke Homers vomit; or else theirs whose heavenly raptures blesse our modern yeres And those to come shall blesse; your name might live In Poets happines, and well survive The workes of brasse and marble: but I know You cannot be so bless’d: for . . . . . . . . they that take From puddles or dull Frog-pits, never make Themselves nor others happy: all their toyle Is like the gleaning of a barren soyle; Both voide of gaine and credit: this apply Unto your selfe, whose witts best treasury Lyes in Don Quixot, Amadis de Gaule, 5

See A Cabinet of Characters, ed. Gwendolen Murphy (London: Oxford University Press, 1925), 127.

1615 Huon of Burdeaux, 6 and those other small Slight Pamphleters; upon whose bruised winges Thy feeble muse doth ride, and slowly singes Her tuneles dreames. . . .

25

(sig. A8r-v )

If these negative lines refer to the prose character titled “An Excellent Actor” by the playwright John Webster (see next entry), they are puzzlingly misapplied. Thoughtful and well balanced, Webster’s comments close with praise: “I value a worthy actor by the corruption of some few of the quality as I would do gold in the ore—I should not mind the dross, but purity of the metal.”7 Other editions: STC 23249 (1615), reference not present in this edition; STC 23250.5 (1627), with a new title page, sig. A8r-v ; STC 23251 (1631), with a different title page, sig. A8r-v . 26. Overbury, Thomas, New and Choise Characters of Severall Authors: Together with That Exquisite and Unmatcht Poeme, The Wife, Written by Syr Thomas Overburie. STC 18908. UMI 1732:25 F. L. Lucas8 has argued that the playwright Webster (1578/80–1638?) is the author of the thirty-two items that appear for the first time in this sixth impression of the protean and multi-authored collection of Overbury characters. Most pertinent here, Lucas notes parallels between the character titled “A Roaring Boy” and both Webster’s Duchess of Malfi and Anything for a Quiet Life (4.12)— though the latter is problematic because Webster was probably only a reviser of the play. A roaring boy is an undisciplined, noisy swaggerer, and whoever the author of this piece may have been, he relates “A Roaring Boy” to “Don Quixote’s water Milles” thus: His [the Roaring Boy’s] life is a meere counterfet Patent:9 which neverthelesse, makes many a Countrey Justice tremble. Don Quixotes water Milles are still Scotch Bagpipes to him. (sig. K6v –K7r )

A problem arises here because Don Quixote and Sancho do not come across “water Milles” until the second part of Don Quixote, which Cervantes did not publish until 1615. The famous mills in DQ 1.8 might, indeed, be envisioned as looking something like multi-armed bagpipes, but obviously they are powered by wind. If we may presume that the writer has not read DQ 2.29 and that he has not merely made a hasty error, he may have been thinking of the fulling mill that in the deep darkness of night terrifies both the Don and Sancho in 6

7 8

Amadis de Gaule (or Gaula), the titular hero of a romance created by Garci Rodríguez de Montalvo in 1508, is Don Quixote’s chosen model for his own exploits—hence also the most frequently mentioned of chivalric heroes in Don Quixote. Huon of Bordeaux is the hero of a thirteenth-century French chanson de geste. Fairly early in the sixteenth century it was available in English through the translation of Sir John Bourchier, 2nd Lord Berners (c.1467–1533), but by the seventeenth-century it had pretty much faded from sight. The Complete Works of John Webster, ed. F. L. Lucas, vol. 4 (London: Chatto and Windus, 1927), 42–3. 9 Ibid. 49. Counterfet Patent: a bogus license to do as he pleases.

26

cervantes in seventeenth-century england

DQ 1.20. The loud, strange noise of the six big, pounding wooden hammers of this cloth-processing machinery (which is, indeed, powered by water) may seem as loud and strange as a Scottish bagpipe.10 Gustav Becker enters this reference at 1614;11 however, “A Roaring Boy” does not appear in earlier editions. Other editions: STC 18909 (1616), sig. I7r ; STC 18910 (1616), sig. I7r ; STC 18911 (1616), sig. I7r ; STC 18912 (1618), sig. I7r ; STC 18913 (1622), sig. M1v ; STC 18914 (1626), sig. I8v ; STC 18915 (1627), sig. M1v ; STC 18916 (1628), sig. M1v ; STC 18917 (1630), sig. M1v ; STC 18918 (1632), sig. M1v ; STC 18919 (1638), sig. M1v ; O610 (1655), sig. I8v ; O611 (1664), sig. M1v ; O611A (1664), sig. M1v .

10

11

Fulling: a process that cleans and toughens a fabric by repeated beatings with heavy, mallet-like hammers. It is said that “Their earth-shattering thumping noise explains why so many people who worked in the industry went deaf.” See “Blonde Bombshell,” National Trust 104 (2005): 71. Becker, Die Aufnahme des Don Quijote in die englische Literatur (Berlin: Mayer and Müller, 1906), 41.

@

1616

#

27. Carleton, Dudley, Letter to John Chamberlain. PRO State Papers 84/73, fos. 57–8 Dudley Carleton, England’s ambassador at The Hague, responded here on 1 July to a letter from his old friend John Chamberlain. The latter had reported to him that Spain’s ambassador to England, Diego Sarmiento de Acuña, better known as the Count of Gondomar, had recently exclaimed, “Voto a Dios que la Corte d’Inglatierra es como un libro de cavalleros andantes”(see Fig. 5). Though at this point Prince Charles had not yet made his extraordinary clandestine trip to Spain, Gondomar was probably reacting to some very real disconnections between James’s court and everyday reality. Carleton writes: I thank the Spanish ambassador for fitting [furnishing] us with so just a character of Don Quixote’s, but I am little beholden to him and others of his coat, though I commend their diligence, for putting speeches into my mouth since my coming hither.1

28. Jonson, Benjamin, The Workes. STC 14751. UMI 755:26 For a reference to Don Quixote in The Alchemist 4.7, see STC 14755 (1612); in this edition, the passage is found on p. 663. As Koeppel notes (Archiv für das Studium, 93), there is another reference in Epicoene 4.1. Dauphine asks a question about women: “How cam’st thou to studie these creatures so exactly? I would thou would’st make me a proficient.” To which Truewit replies: Yes, but you must leave to live i’ your chamber then a month together upon Amadis de Gaule, or Don Quixote, as you are wont; and come abroad where the matter is frequent, to court, to tiltings, publique showes, and feasts, to playes, and church sometimes: thither they come to shew their new tyres2 too, to see, and to be seene. (p. 566)

Other editions of Epicoene: STC 14763 (1620), sig. H4r ; STC 14764 (1620), sig. H4r . Also found in other editions of Jonson’s Works: STC 14753 (1640), p. 579; J1006 (1692), p. 196. 1 2

The comments of both Gondomar and Carleton are quoted here from Lee, Dudley Carleton to John Chamberlain, 206, 208. Tyres: apparel, attire.

28

cervantes in seventeenth-century england

5. This engraved title page of Thomas Scott’s The Second Part of Vox Populi (1624) depicts Spain’s ambassador to England, Diego Sarmiento de Gondomar, Count of Acuña. Presumably garbed as Machiavelli, who was widely considered by the English to be a cunning and unscrupulous man, Gondomar stands next to a reputedly appropriate chair. Near the bottom of the picture, placed beneath both the man and his chair, a motto suggests that one or the other is the ornament of the Spanish nation. Equally subtle is the motto at the upper left: the man on the go in the two-donkey litter involves himself in everything.

1616

29

29. Overbury, Thomas, Thomas Overburie His Wife. Whereunto Are Annexed New Newes and Characters. STC 18909. UMI 1711:10 For a reference to Don Quixote’s water mills (DQ 1.20), see STC 18908 (1615); in this edition, the passage is found in “A Roaring Boy” on sig. I7r . Other editions in 1616: STC 18910 (UMI 1552: 20), sig. I7r ; STC 18911 (UMI 1389: 14), sig. I7r . 30. Wotton, Henry, Letter to Dudley Carleton Writing from Venice on 9 September 1616, Sir Henry Wotton (1568–1639) casually refers here to Don Quixote in a letter to his friend Sir Dudley Carleton.3 Currently serving as England’s ambassador in Venice, and writing to the man who immediately preceded him in that post, Wotton shares worrisome news. “For in truth, my Lord,” he writes, “both this State where I am now and all Italy is at the present very sick.”4 Prominent in his grim picture is Vincenzo Gonzaga II (1594–1627), son of Vincenzo I, the last great Duke of Mantua. In December of 1615 the young Vincenzo, incapable and libertine as he was, had been created a cardinal deacon. Less than a year later, however, in September of 1616, the pope deprived him of all dignities and privileges of the office on the grounds that he had secretly contracted and consummated matrimony with Isabella Gonzaga Novellara. The daughter of the Duke of Bozzolo, Isabella was a rich widow—and some eighteen years older than Vincenzo.5 Wotton knew at least part of this murky business at the time he wrote thus to Carleton: We have now the certainty of the young Cardinal of Mantua his marriage to the Princess of Bozzolo, a crafty widow, or I am deceived, of the house of Gonzaga, who hath three sons living by her former husband, and doth herself (to use the phrase in Don Quixote) border upon forty years; a pretty and logical match, if a man mark it. Which accident, though little considerable in itself, is likely to breed much change in the public.

The passage Wotton remembers from Don Quixote occurs in the opening chapter of the book, where Cervantes describes Don Quixote’s household. In Thomas Shelton’s 1612 translation it reads: “He had in his house a womanservant, of about some forty yeares old” (p. 2).

3

4 5

As Gustav Ungerer remarks, Sir Henry Wotton’s “command of Spanish and his acquaintance with Spain’s historical literature was quite remarkable” (A Spaniard in Elizabethan England [London: Tamesis Books, 1974], 322). The letter is quoted from Logan Pearsall Smith, The Life and letters of Sir Henry Wotton, vol. 2 (Oxford: Clarendon Press, 1907), 102–4. The information here is drawn mainly from Maria Bellonci, A Prince of Mantua: The Life and Times of Vincenzo Gonzaga, trans. Stuart Hood (London: Weidenfeld and Nicolson, 1956), 303–4.

@

1617

#

31. Minsheu, John, Vocabularium Hispanico-Latinum et Anglicum. A Most Copious Spanish Dictionarie, with Latine and English. STC 17949. UMI 1248:8

Minsheu (1560–1627), a notable lexicographer, defines quixótes and suggests the derivation of Don Quixote’s name: Quixótes. L. Femorale. A. Armour for the thighes, à Lat: Coxa, the hippe, undè fortasis: dictus est Don Quixóte nisi malveris de Quixáda aut Quesáda. (sig. N2r )

Also found in: Minsheu’s π„ÂÏ˛Ì ÂflÚ Ù‹Ú „βÛÛ·Ú [H¯egem¯on eis tas gl¯ossas]: id est, Ductor in Linguas, The Guide into Tongues (1617): STC 17944 (UMI 1109: 6), sig. N2r , 2nd pagination. 32. Munda, Constantia, The Worming of a Mad Dogge: or, A Soppe for Cerberus the Jaylor of Hell. STC 18257. UMI 967:5 The pseudonymous Ms. Munda here turns out a sharply worded response to Joseph Swetnam and his frankly titled Araignment of Lewd, Idle, Froward, and Unconstant Women (1615 et seq.). Referring to Swetnam’s “filthy clawes” (sig. B1r ), baiting women, and making a “mingle-mangle gallimauphrie” of it (p. 21), she suggests he has muddled his brains by consulting works in Don Quixote’s library. Cervantes, of course, introduces the subject of that multi-cultural but focused collection in his opening chapter, and thereafter it pervades the rest of his story. Munda overplays her hand, however, naming books Cervantes does not mention—for example John Lyly’s Euphues (1579) and Emanuel Forde’s Parismus (1598–99). “Lord,” she exclaims: How you have cudgeld1 your braines in gleaning multitudes of similies as twere in the field of many writers, and thrasht them together in the floure of your owne devizor; and all to make a poore confused misceline,2 whereas thine owne barren soyled soyle is not able to yeeld the least congruity of speech. Tis worthy laughter what paines you have taken in turning over Parismus, what use you make of the Knight of the Sunne,3 what collections out of Euphues, Amadis a Gaule, and the rest of Don Quixotes Library, sometimes exact tracing of Æsopicall Fables, and Valerius Maximus, with the like schooleboyes bookes. (p. 21) 1 3

2 Cudgeld: beat, battered. Misceline: mixture, medley, mess (OED). The Spanish Knight of the Sun, who was introduced in Diego Ortúñez de Calahorra’s Espejo de príncipes y caballeros (1526), does indeed turn up not only in Don Quixote’s conversation (DQ 1.21), but also in the introductory matter before the story begins. There he addresses a poem to Don Quixote, the first line of which in Shelton’s English is “MY Sword could not at all compare with thine” (DQ 1, sig. A4r–v ).

1617

31

The fables of Aesop, of course, were good for teaching language and moral lessons simultaneously, while the main pedagogical value of Valerius Maximus (fl. a.d. 30) was probably his handbook of rhetorical examples. 33. Norton, Bonham, and John Bill, Catalogus universalis pro nundinis Francofurtensibus autumnalibus, de anno M.DC.XVII. STC 11328.1. UMI 1986:12

Bonham Norton (1565–1635), a wealthy Shropshire man who in 1612 inherited part of his cousin John Norton’s printing business in London, served three times as Master of the Stationers’ Company. Reputed to have been a hardboiled, grasping sort of man, he teamed up for a while with the sometime King’s Printer, bookseller, and book-seeker John Bill (1576–1630), who for a while was an agent for Thomas Bodley (q.v. herein). Together, Norton and Bill became known for “buying and bringing of bookes maps and other Stationary wares & merchandises in and from ffrance,” and Bill in particular is said to have gone “twice each yeere at the least . . . beyond the seas . . . to furnish the said joint trade.”4 In the autumn of 1617, Norton and Bill put forth a catalogue for the famed book fair in Frankfurt. Besides a good many permanently established booksellers and printers there, the fair had long drawn booksellers from a number of countries. Offered for sale in the catalogue at hand, in a section labeled “Libri Perigrini Idiomatis,” is a posthumous Spanish edition of Cervantes’s final work, which had been submitted to the publisher by his widow, Catalina: Los Trabaios de Persiles, y Sigismunda, Historia Setentrional, por Miguel de Cervantes Savedia [sic]. En Madrid por Juan de la Cuesta, en Paris a costa de Estevan Richer in 8[.] (sig. F2r )

First published as a quarto in Madrid by Juan de la Cuesta, and then in Barcelona, Valencia, Pamplona, and Lisbon, Cervantes’s romance of Persiles, Prince of Thule, and Sigismunda, Princess of Frisland, was also published in Madrid that same year as an octavo.

4

Maria Wakely and Graham Rees, “Folios Fit for a King: James I, John Bill, and the King’s Printers, 1616–1620,” Huntington Library Quarterly 68 (2005): 468–9. Quotation from PRO C/3/334/73.

@

1618

#

34. Belchier, Dabridgcourt, Hans Beer-Pot His Invisible Comedie, of See Me, and See Me Not. STC 1803. UMI 1057:3 This sui generis comic piece by Belchier (1581–1621) was dedicated on 17 November 1617 to Sir John Ogle (1569–1640), who was then serving as military governor of Utrecht. It is a dialogue with three acts and nine characters—one of the latter being a tawny Moor named Quixot. Although Quixot’s mother was a Turkish Moor, his father was a noble Spaniard, a “brave Castilian” (sig. D4r ), with the striking name of “Don Abendaraes Quixot” (sig. D4v ). Abindarraéz (of the Abencerraje family) was a noble and well-known Muslim hero in Spanish fiction of the mid-1500s. 35. Field, Nathan, Amends for Ladies. A Comedie. As It Was Acted. STC 10851. UMI 885:13

One of the actors in Shakespeare’s company and also a playwright, Nathan Field (1587–1620?) has long been thought to have turned to Cervantes while writing Amends for Ladies. Gerard Langbaine observed that “The Plot of Subtles tempting the married Wife . . . seems to be founded on Don Quixote’s Novel of the Curious Impertinent. . . . ”1 Among various scholars who have returned to this matter, one of the more perspicuous is William Peery, who writes: It now appears that only nine elements are common to Cervantes’ Curious Impertinent story and Amends. . . . Of the nine, five are to be given little weight for one good reason or another. The case for Field’s direct indebtedness to Cervantes rests upon the explanation why the friend has absented himself, the husband’s injunction to the wife to treat the friend as himself, the choice of the friend as wife-tester because he will likely remain silent, and the misinterpretation of another’s egress from the house.2

Another issue in 1618: STC 10852, UMI 773:7, same pagination. Another edition: STC 10853 (1639). 36. Norton, Bonham, and John Bill, Catalogus universalis pro nundinis Francofurtensibus vernalibus, de anno M.DC.XVIII. STC 11328.2. UMI 2006:5

This spring catalogue issued by the sometime partners Norton and Bill (see 1617) has, once again, a section labeled “Libri peregrini Idiomatis,” which lists an 1 2

Langbaine, An Account of the English Dramatick Poets (1691), 198. Peery, The Plays of Nathan Field (Austin: University of Texas Press, 1950), 149.

1618

33

octavo published in Antwerp of Cervantes’s posthumous but currently popular “northern” romance: Los Trabaios de Persiles, y Sigismunda, Historiæ Setentrional. por Miguel de Cervantes, en Emberes in 8. (sig. H2v )

37. Norton, Bonham, and John Bill, Catalogus universalis pro nundinis Francofurtensibus autumnalibus, de anno M.DC.XVIII. STC 11328.3. UMI 2006:6

Though the onset in May 1618 of the Thirty Years War was surely bad news for Bonham and Bill, they nevertheless put forth another catalogue for the book fair in Frankfurt that autumn. Yet once more they included a section labeled “Libri peregrini Idiomatis,” this time offering (complete with misspellings) a copy of a translation of Don Quixote by François de Rosset (1570?–1619) entitled Seconde partie de l’Histoire de l’ingenieux & redutable Chevalier, Com. [sic] quichot de la Manche, compose par Miguel de servandes, Saavedra. ibid. in 4. (sig. H1v )

The “ibid.” in this entry points back to “Paris, chez Sebastien Cramoisy.” In other words, a couple of years before an English version of Don Quixote, pt. 2, was available for readers who read only English, those who knew French were able to read here about the later adventures of Cervantes’s hero. 38. Overbury, Thomas, Thomas Overburie His Wife. STC 18912. UMI 1578:11

For a reference to Don Quixote’s fulling mills (DQ 1.20), see STC 18908 (1615); in this edition, the passage is found in “A Roaring Boy” on sig. I7r . 39. Taylor, John, The Pennyles Pilgrimage: or, The Moneylesse Perambulation. STC 23784. UMI 941:5 A Thames waterman who traveled extensively, Taylor (1580?–1654) wrote voluminously and dubbed himself “The Water Poet.” As Knowles notes (no. 4), Taylor refers here to Don Quixote’s travels in some verses he made after visiting Sir George Bruce’s state-of-the-art coal mines on the coast of Fife in Scotland: I that have wasted Months, Weekes, Dayes and Howers In viewing Kingdomes, Countreys, Townes and Towers, Without all measure, measuring many paces, And with my pen describing sundrie places, With few additions of my owne devizing, (Because I have a smacke of Coriatizing.) Our Mandevill, Primaleon, Don Quixot, Great Amadis, or Huon, traveld not As I have done, or beene where I have beene, Or heard and seene, what I have heard and seene.

(sig. E2r )

34

cervantes in seventeenth-century england

Taylor’s nonce-word “Coriatizing” refers, of course, to the travel writings of Thomas Coryate (1577?–1617).3 Taylor assumes that readers will perceive a travel theme connecting the anonymous fourteenth-century Travels of John Mandeville, the anonymous Spanish chivalric romance Primaleón (originally 1512), the ubiquitous sixteenth-century Spanish romance Amadís, and the thirteenth-century French chanson de geste known in English as Huon of Bordeaux. Placement of Don Quixote in this list of books well known to English readers is suggestively open to interpretation. Also found in Taylor’s Works: STC 23725 (1630), p. 133. 40. Tourval, Jean l’Oiseau de, Letter to Francis Windebank. NA SP 14/99/8

Jean l’Oiseau de Tourval (d. 1631), or sometimes Tuvell or Tuvill (or John Byrde as he was also called), a third-generation Protestant born in Paris, was for some years one of James I’s secret agents. He settled in London after 1603, but returned to France to supervise the publication of his translation into French of the king’s Apologie for the Oath of Allegiance in 1609. Naturalized as an English citizen in 1619, he became a royal chaplain in 1623 and eventually was presented with the living of St. Martin Orgar in the City of London, probably a reward for his clandestine government service.4 Tourval had occasion to be in London on 11 September 1618 when he addressed a private letter to his good friend Francis Windebank (1582–1646). Working from the signet office at the time, Windebank had previously acquired a B.A. from St. John’s College, Oxford (1602), traveled on the continent, and managed to learn French, Italian, and Spanish.5 Hence Tourval felt free to write to Windebank in Spanish—or, more tellingly, “en aquella lengua Catolica” (in that Catholic language), warning Windebank of the danger of losing his Spanish if he did not use it. Tourval writes that he himself can no longer speak it “tanto bien como Don Quixote” (as well as Don Quixote). Sad as that might be, he jests, at least he can still write Spanish better than “Sancho Panca el Papa de los Escuderos” (the daddy of all squires). Cold comfort, indeed, since Sancho is illiterate.

3 4

5

See e.g. 1611: “Vadianus.” See Elizabeth Allen, Oxford DNB, 55:714–15. In his copy of James I’s Workes (1616), now in the Folger Shakespeare Library, Tourval recorded a list of “bookes in my study at St. Martin Orgar.” His collection consisted mainly of theological works in a controversial vein but held no copy of Don Quixote or any works in Spanish. The list of 111 books, transcribed by J. C. Boswell, will be published in Private Libraries in Renaissance England: A Collection and Catalogue of Tudor and Early Stuart Book-Lists, ed. Robert J. Fehrenbach, vol. 7 (forthcoming). See Brian Quintrell, Oxford DNB, 59:695–9. The signet office was charged with granting official seals giving formal authorization of documents.

@

1619

#

41. Cervantes Saavedra, Miguel de, The Travels of Persiles and Sigismunda. A Northern History. Wherein, Amongst the Variable Fortunes of the Prince of Thule, and This Princesse of Frisland, Are Interlaced Many Witty Discourses, Morall, Politicall, and Delightfull. The First Copie, Beeing Written in Spanish; Translated Afterward into French [by Vital D’Audiguier]; and Now, Last, into English. STC 4918. UMI 1229:16

Cervantes’s final work, Los trabajos de Persiles y Sigismunda, was completed four days before his death in 1616 and first published in 1617. Matthew Lownes, the bookseller for whom this anonymous 1619 English translation was printed (see Fig. 6), dedicated it to “The Right Honourable, and my singular good Lord, Philip, Lord Stanhope, Baron of Shelford”: Right Honourable: THIS Translation falling into my hands by chance, not knowing whose labor hath brought it to light; as I thought it fitte for the Presse: so could I not bethink mee of one more worthy, under the Patronage of whose Name it might passe securely, then your Honors: Unto whom my humble, and dutifull love obligeth mee, not alone to offer this unto your Honours favourable acceptance, but also all the indevours of your humble servant. M. L. (sig. A3r –A3v )

In an epistle to the reader, D’Audiguier, now translated, alludes to Cervantes: THou hast here, Reader the effects of Importunity & Idleness. For, I must confesse, Importunity could not prevaile alone, although I was much pressed. But, considering, that Præstat nugas agere, quam nihil agere,1 I have given it birth in this language; not doubting, but the variety thereof may rob some houres from thy untimely sleep; and the seriousness of it, divert Idlenesse from bringing foorth worse effects. Neither is it altogether so light, but that thou maist sometimes play the bee. The Authour is a Spaniard; whose stile becomes him well, in his own mouth: and his Works of this kinde, have raysed his name, and approved his spirit; not alone in his owne Country, but in others. (sig. A4r )

42. Norton, Bonham, and John Bill, Catalogus universalis pro nundinis Francofurtensibus vernalibus, de anno M.DC.XIX. STC 11328.4. UMI 2006:7

In this Frankfurt Fair volume published in London by the prominent bookmen Norton and Bill, one finds under the heading “Libri peregrini Idiomatis” a 1

“It’s better to accomplish something foolish than nothing.” Nugas agere is a Plautine locution almost unexampled elsewhere—but this is neither Plautine nor verse. Nor is it included in A. Otto’s Die Sprichwörter und sprichwörtlichen Redensarten der Römer (Leipzig: Teubner, 1890), so presumably it is not ancient.

36

cervantes in seventeenth-century england

6. Los trabajos de Persiles y Sigismunda (1617), an allegorical Heliodoran romance, was Cervantes’s final and perhaps favorite fiction. Its English version, The Travels of Persiles and Sigismunda (1619), was printed by Humphrey Lownes for Matthew Lownes, a bookseller at the Bishop’s Head in Duck Lane, St. Paul’s Churchyard. Though this title page traces the text to Spain, it tellingly makes no mention of either Cervantes or his translator.

1619

37

second entry (see also 1618: Norton and Bill) for François de Rosset’s French translation now thoroughly mangled thus: Seconde partie de l’Hipoire [sic] de l’Ingenuieux & redoutable Chevalier Don Quichor de la Marche, ibid. 8. (sig. I1v )

The “ibid.” this time apparently means “A Paris chez Denis Moreau.” 43. Norton, Bonham, and John Bill, Catalogus universalis pro nundinis Francofurtensibus autumnalibus, de anno M.DC.XIX. STC 11328.6. UMI 2064:11

This fall catalogue, another in the series issued in London by Norton and Bill, prints Bill’s name in smaller letters than previously—and near the bottom of the title page. Whatever shifts in the business this implies, the catalogue again includes a Cervantes item. In a small section at the back labeled “Libros Espaniolos,” somewhat randomly sandwiched between Tacito Espanol and Instituciones sacra evangelicas y morales, one finds the title: Primera e segunda parte del ingenioso Hidalgo Donquixiota de la Mancha compuesto por Miguel de Corvantes [sic] Saavedra en Bruelas in 8. (sig. N1r )

Apparently this refers to the octavos put forth in Brussels by Huberto Antonio, “impresor jurado cerca del palacio.” 44. Register of the Company of Stationers of London Entry for 22 February 1619 (Arber, Transcript, 3:298v ): Master Matthew Lownes. Entred for his Copie under the handes of Master Tavernour and both the wardens A booke Called The travells of Persiles and Sigismond . . . vid [.]

@

1620

#

45. Bill, John, Catalogus universalis pro nundinis Francofurtensibus vernalibus, anni M.DC.XX. STC 11328.8. UMI 2184:2 A major change in their business relationship is indicated by the fact that John Bill’s name only, and not that of his quondam partner Bonham Norton, appears on the title page of the Spring 1620 catalogue for the Frankfurt Book Fair. Tucked away toward the back of the book, there is a small section labeled “Libros Espagnioles,” where the first item is PRimera e segunda parte del ingenioso Hidalgo Donquixiota de la Mancha compuesto per Miguel de Cervantes Saavedra en Bruxellas, in 8. (sig. N2r )

Though presented somewhat differently here, this apparently refers to a copy of the same edition that was listed in the Norton-Bill catalogue of the preceding fall. 46. Bill, John, and Bonham Norton, Catalogus universalis pro nundinis Francofurtensibus autumnalibus de anno M.DC.XX. STC 11328.10. UMI 2006:8

Norton and Bill (see 1617, 1618, 1619) appear to be back in business together in the fall of 1620, for the imprint reads “Londini, Ex Officina Nortoniana, Apud Joannem Billium.” This time, among the books offered for sale at the Frankfurt Book Fair, one by Cervantes was listed under the heading “Libri Peregrini Idiomatis”: Seconde partie de l’Histoire de Dom-Quichot de la Manche par Miguel de Cervantes Saavedra, a Paris in 8. (sig. G2r )

Though the booksellers shrink the title, this appears to have been François de Rosset’s Seconde partie de l’histoire de l’ingenieux, et redoutable chevalier, DonQuichot de la Manche. Composée en Espagnol, par Miguel de Cervantes Saavedra (Paris 1618). 47. Cervantes Saavedra, Miguel de, The History of Don-Quichote. The First Parte. STC 4916. UMI 1131:6 This is the second edition of Thomas Shelton’s translation of Don Quixote, pt. 1. In the introductory matter of the first edition (1612), Shelton had complained that the printer issued the text of the book in an uncorrected state, despite Shelton’s admonitions. Now in 1620 (some scholars argue for 1617), approximately eight years had elapsed, and someone, apparently not Shelton himself, had made a good many emendations.

1620

39

7. Printed for Edward Blount, this engraving, which introduces the second appearance of the first part of The History of Don-Quichote (1620), is based closely on the engraved title page of Franc˛ois de Rosset’s Seconde partie de l’Histoire de l’ingenieux, et redoubtable Chevalier, Don-Quichot de la Manche (Paris, 1618). As Lo Ré has shown, Renold Elstrack—who at the time worked for the printer William Stansby—was likely the engraver (“Renold Elstrack as the Probable Engraver of the Title Page to Shelton’s 1620 Don Quixote, London, 1620,” Essays on the Periphery of the Quixote [Newark, DE: Juan de la Cuesta, 1991], 55-76). The scene borrows even such details as the feathers in Sancho’s hat and the improbable sword at his side.

40

cervantes in seventeenth-century england

In any case, the frontispiece made for this edition is the earliest known English pictorial representation of Don Quixote (see Fig. 7). The knight is pictured mounted, carrying a lance, and wearing a barber’s basin for a helmet, an allusion to the ongoing theme of King Mambrino’s helmet, first introduced in Don Quixote, 1.10. A rather neatly dressed Sancho Panza accompanies him, mounted on his ass. In the background is a windmill, obviously intended as an allusion to Don Quixote 1.8, but depicting a typical northern mill, which is said to have been quite different from those in La Mancha.1 48. Cervantes Saavedra, Miguel de, The Second Part of the History of the Valorous and Witty Knight-Errant, Don Quixote of the Mancha. Written in Spanish and Now Translated. STC 4917. UMI 1342:5 Although Thomas Shelton is usually credited with this first English translation of Don Quixote, pt. 2, circumstantial evidence suggests it was not his. Shelton dedicated Don Quixote, pt. 1, to Lord Walden, but Shelton’s name is nowhere in evidence in pt. 2, and the dedication is signed by the publisher, Edward Blount. When it comes to dedications, in fact, Blount aims rather higher than Shelton had, his new dedicatee being King James’s current favorite, “The Right Honorable, George Marquesse Buckingham, Viscount Villiers” (1592–1628). Moreover, Blount comments to Buckingham that the work has had, “by the way of translation, the grace to kiss the hands of a great Ladie of France”— whereby he seems to refer to the 1618 version of Don Quixote published in Paris by François de Rosset. This seems far afield from anything Shelton, who knew Spanish, would be likely to say. Furthermore, the engraving that serves as a title page in Blount’s 1620 Don Quixote, pt. 1, recurs in some copies of this 1620 pt. 2, and is clearly modeled on the title page of Rosset’s Don Quixote, pt. 2. Over the years, for these and a handful of other reasons, some scholars have suggested writers other than Shelton as possible translators. One of these is James Mabbe (1572–c.1642), another writer who worked for Blount. Sometime secretary to Sir John Digby, England’s ambassador to Spain, Mabbe (who on occasion signed himself punningly “Diego Puede-ser”) is otherwise well known for his lively translations from Spanish, one of which is an anthology of six of Cervantes’s Novelas ejemplares (1640). Anthony Lo Ré, on the other hand, argues for the candidacy of Leonard Digges (1588–1635), still another writer who was associated with Blount and fluent in Spanish, a man probably now known best for his 1622 translation called Gerardo the Unfortunate Spaniard from Gonzalo de Céspedes y Meneses.2 Blount’s dedication to Buckingham goes thus: 1 2

Martín de Riquer and José María Valverde, Historia de la literatura universal, vol. 2 (Barcelona: Editorial Planeta, 1971), 209. “The Putative Thomas Shelton Quixote . . . ,” in Essays on the Periphery of the Quixote (Newark, DE: Juan de la Cuesta, 1991), 29–43.

1620

41

Right Noble Lord, Your humble servant hath observ’d in the multitude of books that have past his hands, no small varietie of Dedications; and those severally sorted to their Presenters ends: Some, for the meere ambition of Great names; Others, for the desire, or need of Protection; Many, to win Friends, and so favour, and opinion; but Most, for the more sordid respect, Gaine. This humbly offers into your Lo: presence, with none of these deformities: But as a bashfull stranger, newly arrived in English, having originally had the fortune to be borne commended to a Grandee of Spaine;3 and, by the way of translation, the grace to kiss the hands of a great Ladie of France, could not despaire of less courtesie in the Court of Great Britaine, then to bee received of your Lo: delight; his study being to sweeten those short starts of your retirement from publique affaires, which so many, so unseasonably, even to molestation trouble. By him who most truely honours, and humbly professes all duties to your Lordship. Ed: Blount. (sig. A2r−v )

49. Hic mulier: or, The Man-Woman. STC 13374. UMI 839:14 In a section on beauty and deformity, the anonymous and misogynous author compares women to “foolish” Don Quixote, who believed everything he read: The long hayre of a woman is the ornament of her sexe, and bashfull shamefastnesse her chiefe honour: the long haire of a man, the vizard for a theevish or murderous disposition: and will you cut off that beauty, to weare the others villany? . . . Even for goodnesse sake (that can ever pay her owne with her owne merits) loke to your reputations, which are undermined with your owne Follies, and doe not become the idle Sisters of foolish Don Quixote, to beleeve every vaine Fable which you reade. . . . [In a shoulder note: “Women compared to Don Quixote.”] (sig. B3r )

Other impressions in 1620: STC 13375, same pagination; STC 13375.5, UMI 2119:13, same pagination. 50. James, Thomas, Catalogue universalis librorum in Bibliotheca Bodleiana. STC 14450. UMI 741:13 In 1599 Thomas James (1573?–1629) was chosen by Thomas Bodley himself to be the librarian for his collection, an appointment that was confirmed by Oxford University on 13 April 1602.4 Among other things, it was James who conceived the idea that copies of all books authorized by the Stationers’ Company of London should be deposited in the Bodleian. For many years, in fact until 1620, the very year he resigned as Bodley’s librarian, James worked on the document in hand, an author catalogue of the library’s holdings. Included in it, in alphabetical order under C E R, he writes: Miguel de Cervantes De Don Quixote de la Mancha. Madr. 1605. 4o . C.31 3 4

Don Alonso Diego López de Zúñiga y Sotomayor, Duke of Béjar. R. Julian Roberts, Oxford DNB, 29:737–9.

42

cervantes in seventeenth-century england

51. Jonson, Benjamin, Epicoene: or, The Silent Woman. STC 14763. UMI 1687:22

For a reference to Don Quixote’s popularity, see STC 14751 (1616); in this edition, the passage is found on sig. H4r . An issue in 1620: The Silent Woman, STC 14764, UMI 757:8, different title page, same pagination.

@

1621

#

52. Burton, Robert, The Anatomy of Melancholy. STC 4159. UMI 951:5 Under the pseudonym Democritus Junior, Burton (1577–1640), the erudite scholar-librarian of Brasenose College, Oxford, produced here one of the most protean and durable books of the century. Among other matters in his long introduction to the work (“Democritus Junior to the Reader”), he posits how the Democritus of ancient days would have laughed had he been able to see into the hearts and minds of men. One can neither prove nor disprove the matter, but at one point Burton probably calls to mind the episode in Don Quixote, 1.8, where Don Quixote attacks a windmill. As Sancho Panza exclaimed after the attack (in Thomas Shelton’s English), “Good God! . . . did not I foretell unto you that you should looke well what you did, for they were none other then Windemils, nor could any thinke otherwise, unlesse he had also Windemils in his braines” (p. 53). Burton writes that Democritus, looking at men about him, might well “have seene windmills in one mans head, an[d] Hornets neast [sic] in another” (pp. 35–6). Much later in the Anatomy, as Knowles notes (no. 5), in part 2, section 2, member 4, “Exercise rectified of Body and Minde,” Burton warns depressed people to avoid excessive idle reading lest they become as mad as Don Quixote: Whosoever he is therefore that is overrunne with solitarinesse, or carried away with pleasing melancholy and vaine conceits, and for want of imployment knowes not how to spend his time, or crucified with worldly care, I can prescribe him no better a remedy then this of study, to compose himselfe to the learning of some art or science. Provided alwaies that his malady proceed not from overmuch study, for in such cases hee addes fuell to the fire, and nothing can bee more pernitious; let him take heed he doe not outstretch his wits, and make a Skeleton of himselfe; or such Inamoratoes as read nothing but play-bookes, Idle Poems, Jests, Amadis de Gaul, the Knight of the Sun, the seaven Champians [sic], Palmerin de Oliva, Huon of Burdeaux, &c. Such many times prove in the ende as mad as Don Quixot. Study is only prescribed to those that are otherwise idle, troubled in mind, and carried headlong with vaine thoughts and Imaginations, to distract their cogitations. (p. 353)

Nowadays the hero probably least easy to recall in this list is the Knight of the Sun, that is El caballero del Febo. “Febo” is clearly related to “Phoebus” (meaning bright or pure) and is itself an epithet of Apollo, god of the sun. Moreover, El caballero del Febo is credited with a dedicatory sonnet to Don Quixote in the introductory matter of DQ 1. In Shelton’s 1612 translation, it comes just before a poem by Orlando Furioso (sig. A4r−v ). For a reference to Dulcinea, see STC 4163 (1638) and after.

44

cervantes in seventeenth-century england

Other editions: STC 4160 (1624), p. 235; STC 4161 (1628), p. 262; STC 4162 (1632), p. 262; STC 4163 (1638), p. 279; B6181 (1651), p. 282; B6182 (1652), p. 282; B6183 (1660), p. 282; B6184 (1676), p. 177. 53. Cathkin, James (?), Four MS Leaves from a Notebook In the 1920s, F. S. Ferguson discovered “four leaves of the cash journal of a Scottish retailer bookseller of the early seventeenth century.” They were bound in his copy of The Reasons of the Dissenting Brethren . . . Concerning Presbyteriall Government (Edinburgh, 1648).1 Observing that “a very considerable business in books between London and Edinburgh had grown up,” and admitting that “There is no clue” regarding the identity of the bookseller, Ferguson nevertheless offered the observation that “he may have been James Cathkin.” The Cervantes item at hand reads thus: Satterday the 8 of Der . 1 perseles @ [sic] sigismundus 1.12.0

This is The Travels of Persiles and Sigismunda, translated from Los trabajos de Persiles y Sigismunda (1617) and published in English by Lownes in 1619. Ferguson adds that the sale price was recorded in “Scots” money, viz., onetwelfth of sterling (p. 185; see also Cathkin entry at 1624). 54. Fletcher, John, and Philip Massinger, The Double Marriage For many years The Double Marriage by Fletcher (1579–1625) and probably Massinger (1583–1640) has been perceived by some readers as indebted to those passages in the second part of Don Quixote where Sancho, the would-be Governor of Barataria, is tormented at dinner by a physician. Since at least the time of Isaac Reed (1742–1807), the Duke and Duchesses’s toying with Sancho has been mentioned as a source for the similar manipulation of a courtier named Castruccio in Double Marriage. In both works a doctor forbids his dupe to eat the tempting foods set before him, and, feigning to have the health of his victim in mind, each has the food whisked away. While Castruccio is secretly watched by several other characters—most importantly Ferrand, King of Naples—he enters in royal robes and a blast of royal trumpets, fully expecting to dine royally. Prince Ascanio, one of the observers, marvels quietly “can he think now | He is a king indeed?”2 In blissful ignorance Castruccio exclaims “Let me have pleasures . . . and to the highest!” When he calls for wine, however, he is served watered wine—along with the doctor’s explanation that it is more “sovereign” for him. When a tasty-looking dish appears, the doctor orders it removed for being too spicy. And finally, 1 2

Ferguson published his discovery in “Relations between London and Edinburgh Printers and Stationers (–1640),” Library 4th ser., 8 (1927): 145–98. Quotations in this entry are from The Double Marriage, in The Works of Beaumont and Fletcher, ed. Alexander Dyce,vol. 2 (Boston: Phillips, Sampson, 1854), 96–8.

1621

45

when Castruccio manages to eat a bit of partridge pie, the rest of it is whisked away, and the servants carry off the dining table itself. Dyce summarizes the playwright’s probable indebtedness to Cervantes in a footnote to his edition of The Double Marriage. Citing Reed with approval, he says “the humour of this scene is borrowed from one of the like kind in Don Quixote” (p. 296)—which had appeared in English the previous year. 55. Heylyn, Peter, Microcosmus: or, A Little Description of the Great World. STC 13276. UMI 962:6 A prolific writer on church-related matters, Heylyn (1600–1662) was a sometime royal chaplain (1630), prebendary of Westminster (1631), war chronicler (in Mercurius Aulicus) with King Charles at Oxford, and subdean of Westminster at the coronation of Charles II (1661). Here in this “Treatise Historicall, Geographicall, Politicall, Theologicall,” in a section headed “Of Spaine,” in a passage about topography, he mentions Cervantes and Don Quixote in connection with the Sierra Morena, a mountain range in southwestern Spain: The chiefe hills are . . . [the] Seira Moreana [sic] declining from the midst of Spaine towards the streights of Gibraltare. A chaine of hills sufficiently famous, were it only in this that Cervanses [sic] the wit of Spaine made it the scene of many of the warlike exploits atchieved by the flower and creame of the Knight errant Don Quixote de la Mancha. (p. 25; sig. D1r )

Other editions with title M ÈÍÒ¸ÍÔÛÏÔÚ [Mikrokosmos]: STC 13277 (1625), p. 35; STC 13278 (1627), p. 35; STC 13279 (1629), p. 35; STC 13279.5 (1631), p. 35; STC 13280 (1631), p. 35; STC 13281 (1633), p. 35; STC 13282 (1636), p. 35; STC 13283 (1639), p. 35; STC 13284 (1939, really 1639), p. 35. 56. Norris, Sylvester, The Guide of Faith: or, A Third Part of the Antidote Against the Pestiferous Writings of All English Sectaries. STC 18659. UMI 1711:8

A controversial Roman Catholic, Norris (1572–1630) became superior of the Hampshire district in the same year he put forth this Guide of Faith. Here under the running head “Succession a Marke of the true Church,” he refers to Don Quixote, alluding to Don Quixote 1.3: Marke the arrogancy of this yesterday-upstart in censuring the Fathers, for allowing a Priesthood which he with his adherentes [sic] flatly detest. Well then, se[e]ing they renounce both these orders, I know not in what ranke to place them, unlesse it be in . . . [that] of Don-Quixote knighted in an Inne by the good fellow his host. For so they are eyther voluntary Priestes, arrogating that dignity without commission: or created at the Nags-head in Cheape, by them that had as much authority to make them, as the Inkeeper to dub a knight. (pp. 187–8)

46

cervantes in seventeenth-century england

Norris has in mind here an old and false story placed a Bible on Parker’s head and said “Take thou authority to preach the Word of God Sincerely.” Such, according to the story, was the foundation of Anglican Orders.3 57. Slatyer, William, The History of Great Britanie. STC 22634. UMI 1008:9

Slatyer (1587–1647) was an M.A. and fellow of Brasenose College, Oxford. Before acquiring his D.D. in 1623, he put forth this History in Latin and English verse. Here in an epistle addressed “to the well-affected and ingenious or no more curious then courteous readers,” Slatyer appears to equalize Don Quixote’s encounters in battle with those of Amadis. He writes: Historie her Encomium needs not farre fetching, tho frequent in our mouthes; the Life, Light, and Mistresse of Prudence. . . . We [English historians] better skill the warres of Troy and Thebes, with the Pharsalian fields, the halfe-feyned fights of Hercules, Achilles Turnus, 4 Hector and Æneas (I will not say of Amadis, Don Quixot, and such like) then as Heroike, if not more warlike, and worthy to be renowned martiall spirits of our owne; Danes, Saxons, Romans, Normans, Brittons, and other noble Captaynes here at home. (sig. ¶4r−v )

58. Taylor, John, Taylors Goos Describing the Wilde Goose. STC 23799. UMI 1782:22

While riding in Berkshire near the town of Bray, the Thames waterman Taylor passed by a goose, a gander, and their young. Without provocation, the gander attacked him with the fierceness of Don Quixote. In Taylor’s words: The Gander in my face with fury flew, Who in his fierce encounter was more hot, Then if he had bin Spanish Don Quixot. But sure himselfe so bravely he did beare, Because his Love and Lady Goose was there.

(sig. D3v )

Also found in Taylor’s Works: STC 23725 (1630), p. 111. 59. Wroth, Mary, The Countess of Montgomeries Urania. STC 26051. UMI 980:12

It has been argued that the mammoth romance Urania by Lady Mary Wroth (1587–1651/3) was strongly influenced by Don Quixote. In fact, Josephine Roberts, Wroth’s editor and major student, writes that Don Quixote is a significant source insofar as it appears to have shaped Wroth’s response to a variety of sources that she used more directly, including the Arcadia of her uncle Sir Philip Sidney and Edmund Spenser’s Faerie Queene, as well as some of the romances 3 4

Beatrice M. Hamilton Thompson, The Consecration of Archbishop Parker (London: Faith Press, 1934), passim, esp. 11–12; and New Catholic Encyclopedia, vol. 10 (New York: McGraw Hill, 1967), 1023–4. Possibly the least known of these figures nowadays, Turnus is a warrior king slain by Aeneas in the final book of the Aeneid.

1621

47

that Cervantes himself worked with, such as Jorge de Montemayor’s Diana, Ariosto’s Orlando Furioso, and the Amadís de Gaula. As Roberts puts the case, “Wroth drew upon a wide range of reading in English and continental fiction” in “creating Urania as a quixotic romance.”5 Wroth not only echoed Cervantes’s skeptical ambiguity concerning adventure and enchantment, but also created specific echoes of situations in Don Quixote. Wroth never alludes directly to either Cervantes or Don Quixote in her text, but a reader is nonetheless left to ponder the possibly allusive nature of the windmill that is clearly inscribed in the distance on the right-hand side of the carefully designed and executed title page of her book. From early days, clearly, Don Quixote’s encounter with windmills (DQ 1.8) was the single best-known action in Cervantes’s book. In Wroth’s book, furthermore, the mill as depicted by the Dutch artist Simon van de Passe strongly resembles the windmill on the right-hand side of the title page of François de Rosset’s translation from Cervantes called Seconde partie de l’histoire de l’ingenieux et redoutable chevalier, Don-Quichot de la Manche (Paris, 1618). Possibly still more striking, the windmill on Wroth’s title page resembles also the windmill in the engraving— probably the work of Renold Elstrack—that is placed in the distance on the right-hand side of the title page of The History of Don-Quixote, the first English edition of both the first and second parts of Don Quixote, issued in London about a year before Urania.

5

Roberts, ed., The First Part of the Countess of Montgomery’s Urania, Medieval and Renaissance Texts and Studies, vol. 140 (Binghamton, NY: MRTS, 1995), p. xxv.

@

1622

#

60. Céspedes y Meneses, Gonzalo de, Gerardo the Unfortunate Spaniard: or, A Patterne for Lascivious Lovers. STC 4919. UMI 1131:7 As Knowles notes (no. 6), in the dedication to the William, Earl of Pembroke, and Philip, Earl of Montgomery (the same noble brothers to whom Shakespeare’s collected plays would be dedicated in the following year), the translator and poet Leonard Digges (1588–1635) refers to “a witty Spaniard” who is probably Cervantes. Digges writes: Translations (as sayes a witty Spaniard ) are, in respect of their Originals, like the knottie wrong-side of Arras-Hangings: But by his wits leave, as the faire outside could ill be seene, without helpe of the knots within; no more can the fame of a wel-deserving Author be far spred, without the labor of a Translator. (sig. A2r−v )

In the first English version of the relevant passage in Cervantes (1620: DQ 2.62), Don Quixote remarks that he thinkes this translating from one language into another . . . is just like looking upon the wrong side of Arras-Hangings: that although the Pictures be seene, yet they are full of threed ends, that darken them, and they are not seene with the plainenesse & smoothnesse, as on the other side. (p. 147)

A complicating factor in this matter is that some other Spanish writers had also used this simile.1 Another edition: C1783 (1653), sig. A3r . 61. Fletcher, John, and Philip Massinger, The Prophetess in The Dramatic Records of Sir Henry Herbert.2 On 14 May 1622, apparently close to the end of Sir George Buc’s term as Master of the Revels, a license for performance was issued for Fletcher and Massinger’s new play called The Prophetess, a tragicomedy that featured a character probably modeled on Cervantes’s Sancho Panza.3 62. Massinger, Philip, and Thomas Dekker, The Virgin Martir, a Tragedie. STC 17644. UMI 1074:16 As Becker notes (Aufnahme, 53), Massinger (1583–1640) and Dekker (c.1572– 1632) appear to allude to Don Quixote in the second scene of the second act of 1 2 3

See e.g. Dale B. J. Randall, The Golden Tapestry: A Critical Survey of Non-Chivalric Spanish Fiction in English Translation (1543–1657) (Durham, NC: Duke University Press, 1963), 3. John Q. Adams, ed., The Dramatic Records of Sir Henry Herbert (New Haven: Yale University Press, 1917), 23. See major entry for The Prophetess (Fletcher and Massinger) under Beaumont and Fletcher and others, 1647.

1622

49

Virgin Martir. Macrinus, a courtier anxious to get away from the interrogation of Theophilus (who is described as “a zealous persecutor of the Christians” [verso of the title page]), babbles nonsense in order to avoid revealing something, thus moving Theophilus to say: “Thy head is full of Winde-mils” (sig. D4r ). Thus does one run headlong into the problem of whether this statement and its later and various near cousins were or were not occasioned by the famous windmill episode in Don Quixote, pt. 1, ch. 8. Though there can be no certainty in the matter, an argument for the positive might be Sancho Panza’s exclamation to Don Quixote in that episode as it was rendered by Thomas Shelton’s 1612 translation:4 Good God! . . . did I not foretell unto you that you should looke well what you did, for they were none other then Windemils, nor could any thinke otherwise, unlesse hee had also Windemils in his braines. (p. 53)

See also: STC 17644a (1622), a variant title page, same pagination; STC 17645 (1631), sig. D3v ; M1052 (1651), sig. C4v ; M1054 (1661), sig. C4v . 63. May, Thomas, The Heire. An Excellent Comedie. STC 17713. UMI 966:05

In the opening scene of this play, as Koeppel (Archiv für das Studium, 96) notes, May (1595–1650) has Clermont, speaking to Philocles, invoke several scenes from Don Quixote, including 1.8 and 1.18, and cites the penance that the Spanish knight planned to undertake to manifest his devotion to Dulcinea: Then to be briefe, I will passe over the opinion of your ancient fathers, as likewise those strange Loves (spoken of in the Authenticke histories of chivalrie, Amadis du Gaule, Parismus, the Knight of the Sunne,5 or the witty Knight Don Quixote de la Mancha, where those brave men whom neither Enchantments, Gyants, Wind-mills, nor flockes of sheepe could vanquish, are made the trophyes of tryumphing love. Phi. Prithee come to the matter. Cler. Neither will [I] mention the complaints of Sir Guy for the faire Phelis, 6 nor the travels of Parismus for the love of the beautious Laurana, nor lastly, the most sad pennance of the ingenious knight Don Quixot upon the mountaines of Scienna Morenna [i.e. Sierra Morena], moved by the unjust disdaine of the Lady Dulcinea del Toboso. (sig. B3r )

Other editions: STC 17714 (1633), sig. B3r ; STC 17714a (1633), sig. B3r . 4

5

6

The most assiduous scholarly pursuit of the matter thus far would seem to be Wolfgang Mieder’s “From ‘Windmills in One’s Head’ to ‘Tilting at Windmills’: History and Meaning of a Proverbial Allusion to Cervantes’ Don Quixote,” Proverbium 23 (2006): 343–418. These names were likely to be familiar to May’s audience: Spain’s Amadís de Gaula entered England at least as early as 1571; the hero of Emanuel Forde’s popular romance Parismus, the Renoumed Prince of Bohemia appeared in the late 1590s; and the Knight of the Sun in the Mirrour of Princely Deedes and Knighthood (trans. Margaret Tiler from the Spanish of Diego Ortúñez de Calahorra) in the 1570s. Traces of the legendary Guy of Warwick extend back into Anglo-Norman times, and Middle English writings record his love for Felice.

50

cervantes in seventeenth-century england

64. Overbury, Thomas, Thomas Overburie His Wife. STC 18913. UMI 1323:3

For a reference to Don Quixote’s fulling mills, likely an allusion to DQ 1.20, see STC 18908 (1615); in this edition, the passage is found in “A Roaring Boy” on sig. M1v . 65. Reynolds, John, The Triumphs of Gods Revenge Against Murther. STC 20943.3. UMI 1840:1 The Triumphs of John Reynolds (fl. 1621–1650), a merchant from Exeter, proved to be one of the most popular books of English fiction in the seventeenth century, “one of the very few big books to become a best-seller” writes Charles Mish.7 This collection of tragic tales, presumably based on the author’s travels throughout Europe, aimed high: it was dedicated to George Villiers, then Marquess of Buckingham, the favorite of King James. In Antonio and Berinthia, the seventh story of bk. 2 of the Triumphes, a character demonstrates the popularity among women readers of Cervantes’s “Historie”—which might be taken to refer either to The History of Don-Quixote or The Travels of Persiles and Sigismunda. A Northern History. The passage reads: On a Sunday morning, when Berinthia was descended to the garden to gather flowers, against her going to Church with her Father and Mother; her Sister Catalina rusheth into her Chamber, to seeke the Historie of Cervantez, which the day before shee had lent her, and not finding it either on the Table or the Window, seekes in the pocket of her gowne, that she wore the day before. (pp. 60–1, 2nd pagination)

See also: STC 20944 (1635-34), p. 112; STC 20945 (1639), p. 101; STC 20946 (1640), p. 101; R1308A (1656), p. 80; R1309 (1657), p. 80; R1310 (1662), p. 78; R1310A (1662), not present in Folger copy (UMI 2710:7); R1311 (1663), p. 78; R1311A (1669), unique surviving copy is imperfect, book 3 only (UMI 2337:9); R1312 (1670), p. 78; R1313 (1679), p. 78. 66. Taylor, John, The Great O Toole. STC 23762. UMI 1498:4 An engraving at the front of this slim little book by Taylor, the Thames water-poet, depicts an armored and heavy-bearded “ARTHURUS SEVERUS O’TOOLE . . . Ætatis 80.” Presumably a soldier who fought for Elizabeth in Ireland in earlier days, O’Toole is for Taylor a subject of scorn, a man “Whose selfe admiring Fame doth lowdly Ring” (first leaf, verso). In the mocking verses that follow, Taylor has occasion to drop many comparison-inspiring names, including (as Knowles notes, no. 7) Don Quixote. In this one particular passage, which summons up sixteen figures for comparison, Taylor names famous men from Greece, France, England, Scotland, and Spain, plus those of a mixed final trio made up of Thersites 7

“John Reynold’s [sic] The Triumphs of Gods Revenge,” Seventeenth-century News 10 (1952): 37.

1622

51

(an ugly and filthy-tongued figure in the Iliad ), Sir Dagonet (a court fool), and the giants Gog and Magog (known as defenders of the city of London). Taylor writes: In all Ages and Countryes, it hath ever bin knowne, that Famous men have flourished, whose worthy Actions, and Eminency of place, have ever beene as conspicuous Beacons Burning and blazing to the Spectators view: the sparkes & flames wherof hath sometimes kindled Courage in the most coldest and Effeminate Cowards; as Thersites amongst the Grecians, Amadis de Gaule and Sir Huon of Burdeaux in France, Sir Bevis, Gogmagog, Chinon, Palmerine, Lancelot, & Sir Tristram amongst us here in England, Sir Degre, Sir Grime, and Sir Gray Steele in Scotland, Don Quixot with the Spaniards, Gargantua almost no where, Sir Dagonet, and Sir Triamore any where, all these and many more of the like Ranke have fill’d whole Volumes, with the ayrie Imaginations of their unknowne and unmatchable worthes. (sig. A4r−v )

Also found in Taylor’s Works: STC 23725 (1630), p. 16 (2nd pagination).

@

1623

#

67. Massinger, Philip, The Duke of Millaine. STC 17634. UMI 1210:8 As Philip Edwards and Colin Gibson note in their commentary on this play,1 the odd admonition “Let her but remember | The Issue in her Legge” (sig. E1r ) is a possible allusion to Don Quixote, 2.48. During a conversation with Donna Rodriguez, a waiting woman, Don Quixote learns that the beautiful duchess, despite her “cheekes of Milke and Vermillion” and her general appearance of health, is afflicted with “two issues that she hath in both her legs, at which all the ill humour is let out, of which Physicians say she is full” (1620, p. 320). Another edition: STC 17635 (1638), sig. D2r . 68. Scott, Thomas, Exod. 8.19. Digitus Dei. STC 22075. UMI 1463:11 Scott (1580?–1626) was a preacher (said to have preached twice before King James) and a political writer. In the tract at hand, written against Roman Catholic practices, he refers to Don Quixote’s transformation and melancholia, somewhat oddly coupling Cervantes’s knight with Rabelais’s Gargantua: I shall never beleeve your Transubstantiation, nor can you perswade any to retaine your erronious opinion any longer, or receive it farther; except such as you with the Cup of Abhominations have transubstantiated or transformed Spiritually (as Medea and Circes did their Guests Corporally) into such Don Quixshots or Gorgantuahs as would eat up their God Almightie at a mouthfull, or in their melancholly mood imagine themselves to be such Monsters as could doe it. (p. 27)

The sheets of this work were also issued as part of Vox populi Vox Dei. Vox regis. Digitus Dei, STC 22102 (1622–3), same pagination. 69. Webster, John, The Tragedy of the Dutchesse of Malfy. STC 25176. UMI 944:18

Although it dates back to 1613–14, Webster’s Duchess of Malfi first reached print in 1623. R. W. Dent suggests that there is a close parallel between 5.5.95–8 of the play and Don Quixote, 2.6, where Quixote enumerates four species of pedigree.2 Webster’s dying Bosola says to the mortally wounded Cardinal: 1 2

Edwards and Gibson, eds. The Plays and Poems of Philip Massinger, vol. 5 (Oxford: Clarendon Press, 1976), 122. Dent, John Webster’s Borrowing (Berkeley and Los Angeles: University of California Press, 1960), 264.

1623 I do glory That thou, which stood’st like a huge Piramid Begun upon a large, and ample base, Shalt end in a little point, a kind of nothing.

53

(sig. N3r )

A similar passage from Don Quixote (1620) reads thus: “Others, that though they had great beginnings, yet they end pointed like a Pyramis, having lessened and annihilated their beginning, till it ends in nothing” (p. 36). In spite of what appears to be an echo, however, Dent says, “We have no adequate reason to believe that Webster ever worked directly from Continental sources, or that he made any late additions to this tragedy, or that he was familiar with the second part of Don Quixote” (p. 264). Although The Duchess of Malfi was performed in London several years before the second part of Don Quixote appeared even in Spanish, Webster conceivably might have inserted this pyramid passage some time before publication of his play in 1623. In any case, N. W. Bawcutt has pointed out that this passage as well as three other ones probably can be traced to the first part of Don Quixote.3 A similar and earlier pyramid reference occurs when Don Quixote is assuring Sancho that a knight need not be royal in order to marry the daughter of an emperor (DQ 1.21). In Shelton’s words: [T]here are two maners of lineages in the world. Some that derive their pedegree from Princes and Monarkes, whom time hath by little and little diminished and consumed, and ended in a point like Pyramydes. Others that tooke their beginning from base people, and ascend from degree unto degree, untill they become at last great Lords. (pp. 188–9)

Another likely Webster borrowing, Bawcutt suggests, relates Duchess of Malfi, 3.1.66–79 to the following chapter (i.e. DQ 1.22). Webster’s Duke Ferdinand, expressing scorn for a belief in potions and charms, asks Bosola: Do you think that herbs or charms Can force the will? Some trials have been made In this foolish practice; but the ingredients Were lenitive poisons, such as are of force To make the patient mad; and straight the witch Swears, by equivocation, they are in love. The witchcraft lies in her rank blood. (sig. F2v )

Bawcutt finds several elements in this speech to be reminiscent of Don Quixote’s talk with the old galley-slave whom he frees (DQ 1.8). In Shelton’s words, the knight says: Although I know very well that no sorcery in the world can move or force the will, as some ignorant persons thinke (for our will is a free power, and ther[e]’s no hearb 3

“Don Quixote, part I, and The Duchess of Malfi,” Modern Language Review 66 (1971): 488–91.

54

cervantes in seventeenth-century england nor charme can constrain it.) That which certain simple women, or cousening 4 companions make, are some mixtures and poysons, wherewithall they cause men runne madde. (p. 196)

Bawcutt writes: “the similarity of ideas and the shared use of such important words or phrases as ‘herbs or charms’, ‘force the will’, ‘poisons’, and ‘mad’ make it clear the resemblance is not a mere coincidence” (p. 489). Bawcutt finds yet another borrowing in Duchess of Malfi, 3.2.109–11, where the Duchess asks: Why might I not marry? I have not gone about, in this, to create Any new world, or custom.

(sig. G1r )

Bawcutt traces this to Don Quixote, 1.28, where Dorotea rationalizes her acceptance of Don Fernando’s suit: “Then since herein I create no new world, nor custome, what error can be committed by embracing the honour wherewithall fortune crownes me?” (1612 Shelton, DQ 1.28, p. 292). Two phrases plus the verb “create” plus the general knowledge that Webster was, indeed, an inveterate borrower of phrases from his reading, open the possibility that here, too, he made use of Cervantes’s Englished Don Quixote. Other editions: STC 25177 (1640), sigs. D4v , E2r , K4r ; STC 25177a (1640), sigs. D4v , E2r , K4r ; W1222 (1657), sigs. D4v , E2r , K4r ; W1223 (1678), sigs. E3v (p. 30), F1r (p. 33), L3v –4r (pp. 78–9). 70. Wynne, Richard, A Brief Relation of What Was Observed by the Prince’s Servants in Their Journey into Spain in the Year 1623 In 1623, Prince Charles and George Villiers (newly created Duke of Buckingham) set out secretly for Spain in a madcap attempt to win the hand of the Spanish infanta. They were followed by a large number of Englishmen whose mission was to provide a show of support for this ill-conceived venture. One of these men, Sir Richard Wynne of Gwedir (d. 1649), a Groom of the Chamber to Prince Charles, wrote a brief account of the journey in which one finds the names of the principal travelers, among them Lord Andover (Master of the Horse), Lord Compton (Master of the Robes), Lord Cary (Chamberlain), Sir Francis Cottington (Secretary), and Sir Robert Carr (Gentleman of the Bedchamber). As Knowles notes (no. 8), during the course of the subsequent account of these Englishmen’s experiences in Spain, one finds a number of remarkable details. Among them is the fact that on their return journey “towards the seaside,” when they paused at the town of St. Andera de Luna, Wynne’s inquiry about local attractions brought forth a surprising response. Wynne writes: 4

Cousening: cozening, deceiving, cheating.

1623

55

Being a league on our way towards the sea-side, I was inquisitive to know whether there were anything in those parts worth the seeing? They told me, if I travelled two days, I could see nothing but such mountains as were that instant before my eyes; only they said, Tobosa, a poor village, where the famous Dulcinea lived, was not far off, but nothing in it worth the taking pains to see it.5

5

Wynne’s “Journey of the Prince’s Servants into Spain,” included in James Orchard HalliwellPhillipps, ed., The Autobiography and Correspondence of Sir Simonds D’Ewes, vol. 2 (London: R. Bentley, 1845), 422.

@

1624

#

71. Burton, Robert, The Anatomy of Melancholy. STC 4160. UMI 632:5 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 235. 72. Cathkin, James (?), Four MS Leaves from a Notebook The same anonymous Scottish cash book that was noted above (1621) records the later sale of a second Cervantes volume. On 23 January 1624 the bookseller (perhaps James Cathkin) sold another copy of The Travels of Persiles and Sigismunda (1619), the English translation of Los trabajos de Persiles y Sigismunda (1617). This time the “northern” romance brought £1.13.4.1 73. Davenport, Robert, City-Night-Cap: or, Crede quod habes, & habes. D369. UMI 451:27 Licensed on 14 October 1624 by Henry Herbert (older brother of the poet George Herbert), who had been serving as Master of the Revels since 1623, this “tragi-comedy” with significant indebtedness to Don Quixote apparently remained unpublished until 1661 (q.v.). 74. Massinger, Philip, The Renegado in The Dramatic Records of Henry Herbert On 17 April 1624 Herbert recorded in his office-book the licensing of Massinger’s The Renegado, a tragicomedy that borrows from both Cervantes’s El capitán cautivo (DQ 1.39–41) and his comedia titled Los baños de Argel. Herbert writes: “For the Cockpit; The Renegado, or the Gentleman of Venice: Written by Mesenger” (Adams, Dramatic Records, 28).2

1 2

F. S. Ferguson, “Relations between London and Edinburgh Printers and Stationers (–1640),” Library, 4th ser., 8 (1927): 186. See major entry for Renegado under Massinger, 1630.

@

1625

#

75. Crosse, William, Belgiaes Troubles and Triumphs. STC 6072. UMI 954:9

In the second part of this work, William Crosse (b. 1589/90), poet, translator, and preacher, writes of a Dutch expedition that sailed under Admiral Jacob Willekens in December 1623 and January 1624 to conquer Bahia in Brazil. Willekens’s ships arrived in the waters off Bahia on 8 May 1624, and when the Dutch first came ashore on 9 May, many of the residents began to flee. The very next day the victorious Dutch found Governor-General Diogo de Mendoça Furtado attended by only fifteen or so companions.1 In a dedicatory epistle, Crosse says modestly that his work is “rather a Discourse, then a Poeme, as truely and Historically relating the most remarkable and time-neerer Exployts, which have passed between the Dutch and the Spaniards, in these last foure yeares” (sig. F3r). In the following excerpt concerning the exploits of Admiral “Willecks” in “Sugar rich Saint Salvador,” Crosse not only uses the plural “Quixotes” but also defines it in a side note as meaning “Vaine glorious Braggarts”: He thus inflames, thus comforts, thus exhorts, His Hollanders: Come on my brave Consorts, Heere’s honour, riches, profit, and what not Within Salvador to bee lost, or got; Heere are those Ingots rich, those precious graines, Which Reall 2 washeth from the mountaines vaines; Heere is that Oare, for which the Negro slaves Unlocke the closets of th’Infernall caves, Kept by these meagre Guardians, verball puffes,3 Bigge lookers in their high Castillian ruffes, But meere Quixotes, Rodomantading 4 braves, Faire frontispic’d like to their Grandoes [sic] graves, But full of emptinesse, and those defects, Which valour in selfe-bragging still detects.

1 2

3 4

(p. 64)

Charles R. Boxer, The Dutch in Brazil, 1624–1654 (Oxford: Clarendon Press, 1957), 21–3. In a shoulder note: “Reall, a River which bordereth Brasill to the Southward.” Boxer says Crosse’s mention of “Reall” also refers to the real de agua, a wide-ranging retail sales tax (p. 43). The wit of Crosse’s punning lies in the fact that both the river and the tax (agua means water) are ways of extracting wealth from the veins of the land. Puffes: persons swollen with pride or vanity, braggarts. Crosse’s Rodomantading (i.e., boasting, bragging) is traceable back to Ariosto’s Orlando Furioso, which depicts a braggart Saracen named Rodomont (OED).

58

cervantes in seventeenth-century england

76. Heylyn, Peter, M ÈÍÒ¸ÍÔÛÏÔÚ [Mikrokosmos]. A Little Description of the Great World. STC 13277. UMI 1661:14 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35.

@

1626

#

77. Fletcher, John, The Fair Maid of the Inn in The Dramatic Records of Henry Herbert As Adams observes, The Fair Maid of the Inn was licensed on 22 January 1626 (Dramatic Records, 31). Though scholars have variously suggested Philip Massinger, John Webster, William Rowley, and John Ford as collaborators in the making of this play, Fletcher is generally credited with having the major hand in it—a probability perhaps enhanced by the fact that the play appears to be indebted to Cervantes’s La ilustre fregona from the Novelas ejemplares.1 78. Overbury, Thomas, Thomas Overburie His Wife. STC 18914. UMI 1457:5

For a reference to Don Quixote’s fulling mills (DQ 1.20), see STC 18908 (1615); in this edition, the passage from “A Roaring Boy” is found on sig. I8v . 79. Vaughan, William, The Golden Fleece. STC 24609. UMI 943:7 Vaughan (1577–1641), an Oxonian, poet, lawyer, and colonist, is of special interest for having bought an interest in Newfoundland (1616), sent settlers there (1617–18), visited there (1622), and in his Golden Fleece written an allegory about his colony. As Knowles notes (no. 9), Vaughan praises Don Quixote in pt. 1 of The Golden Fleece: Excellent in this Art of Cookerie were those Spaniards, which wrot[e] the life of Guzman the Rogue, and the Adventures of Don Quixot de la Mancha, the former serving to withdraw a licentious young man from Prodigalitie, Whoredome, and Deceit; and the latter to reclaime a riotous running wit from taking delight in those prodigious, idle, and time-wasting Bookes, called the Mirrour of Knighthood, the Knights of the Round Table, Palmerin de Oliva, and the like rabblement. (p. 11)

Somewhat unusual here is the reference to Diego Ortúñez de Calahorra’s Espejo de príncipes y caballeros (1562), which in turn is itself unusual for being translated at least partially by a woman, Margaret Tiler, who published the first part of The Mirrour of Princely Deedes and Knighthood (1578). The anonymous Palmerín de Oliva apparently made its first appearance in a translation by Anthony Munday (1588) and was still being published at least as late as 1637.

1

See major entry under Beaumont and Fletcher, 1647.

@

1627

#

80. Drayton, Michael, Nimphidia, the Court of Fayrie. STC 7190. UMI 1377:12

A worthy and versatile poet who is now likely to be perceived mainly as a belated Elizabethan, Michael Drayton (1563–1631) may surprise readers a bit with his Nimphidia—wherein, along with a sort of mock-heroic gusto, his Nimphidia proves to be a fairy attendant on Queen Mab. As James Fitzmaurice-Kelly observed,1 Drayton gives readers of the work (which was published together with The Battaile of Agincourt) both a folkloric view of fairyland and the following reference to Don Quixote and Sancho Panza: Men talke of the Adventures strange, of Don Quishott, and of their change Through which he Armed oft did range, Of Sancha Panchas travell: But should a man tell every thing, Done by this franticke Fayrie King. And them in lofty Numbers sing (sig. Q4v ) It well his wits might gravell.2

Another edition: STC 7191 (1631), sig. M7v . 81. Egerton, Frances (Stanley), A Catalogue of My Ladies Books at London Taken October. 27 th . 1627. Huntington Library EL 6495 (facsimile)3

A catalogue of the books in the London home of Frances Egerton, Countess of Bridgewater (1585–1636), was first compiled in the fall of 1627, then subsequently expanded in the early 1630s with sixty-seven more titles, bringing the total number of listed volumes to 241. As David McKitterick has fairly recently noted, this was probably the largest known book collection owned in the early seventeenth century by a woman.4 The quantity, character, and kinds of books that Lady Bridgewater may have had elsewhere cannot be ascertained now, but in London about half of 1 2 3

4

Fitzmaurice-Kelly, The Life of Miguel de Cervantes (London: Chapman and Hall, 1892), 279. Gravell: perplex, puzzle, confound (OED). The information in this entry is based on a photocopy in the Huntington Library of a manuscript owned by Sir John Sutherland Egerton, Duke of Sutherland, and discussed by Heidy Brayman Hackel in her essay called “The Countess of Bridgewater’s London Library,” in Books and Readers in Early Modern England, ed. Jennifer Andersen and Elizabeth Sauer (Philadelphia: University of Pennsylvania Press, 2002), 139–59. McKitterick, “Women and Their Books in Seventeenth-Century England: The Case of Elizabeth Puckering,” Library, 7th ser., 1 (2000): 373.

1627

61

her library consisted of religious texts—not all of them, interestingly, focused on a single faith. Neither these nor any other books in her collection were in Latin or Greek, or indeed any foreign language other than French. Absent are such women’s books as might be helpful for managing a large household in the country. In fact, the second largest category of books consists of literature and history (which were often blurred together at the time). These include works by Shakespeare, Jonson, Donne, Herbert, and Bacon. Among the folios listed are Lady Mary Wroth’s “The Countesse of Montgomerie’s Urania” (n.d.), John “Barcklay’s Argenis” (1625), and Edmund Spenser’s “The Fayery Queene” (1609). And listed among the quartos, preceded immediately by John Gainsford’s “History of Trebizond” (1616) and followed by Angel Day’s practical handbook called “The English Secretarie” (1607), is “Don Quixot by Shelton” (1612). The fact that only the translator Thomas Shelton is named here suggests that the cataloguer (or cataloguers) were innocent of or disinterested in knowledge about the original begetter of Don Quixote. 82. Heylyn, Peter, M ÈÍÒ¸ÍÔÛÏÔÚ: A Little Description of the Great World. STC 13278. UMI 600:3 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35. 83. Overbury, Thomas, Thomas Overburie His Wife. STC 18915. UMI 1578:12

For a reference to Don Quixote’s fulling mills (DQ 1.20), see STC 18908 (1615); in this edition, the passage in “A Roaring Boy” is found on sig. M1v . 84. Stephens, John, The Errors of Men Personated in Sundry Essaies and Their Passions Deciphered in Honest Characters. STC 23250.5. UMI 860:14; and 771:4 (as STC 21502); and 833:8 (as STC 10527)

For a reference to a person with shallow wit having stolen such as he possesses from Don Quixote, see Essayes and Characters, STC 23250 (1615); in this edition, the passage is found on sig. A8r−v .

@

1628

#

85. Burton, Robert, The Anatomy of Melancholy. STC 4161. UMI 633:1 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 262. 86. Featherstone, Henry, Catalogus librorum in diversis locis Italiae emptorum. STC 1837. UMI 1270:34 Featherstone (c.1585–1647), a major London bookseller1 with many more Italian books than Spanish ones, nevertheless listed Cervantes’s final fiction among his “Libri Hispanici”: “Los Trabaios de Persiles y Sigismunda 8o . En Pamplona. 1617[.]” (p. 44). On the facing page, already into his “Libri Itallici,” he offers English buyers: “Don Chisiote della Manca 4. Ven[ice]. 1615.” (p. 45). 87. Fletcher, John, and Philip Massinger, The Custom of the Country in The Dramatic Records of Henry Herbert For a period of five and a half years, the King’s Company, playing at the Globe in the summer and the Blackfriars in the winter, paid Henry Herbert, Master of the Revels, with one benefit performance in each of these seasons (Adams, Dramatic Records, 42–3). Of all these benefits (a total of ten in five and a half years), Herbert fared best from a performance of Fletcher’s Custom of the Country (1620)—a play indebted to Cervantes’s Trabajos de Persiles y Sigismunda.2 Herbert writes: The benefitt of the winters day, being the second daye of an old play called The Custome of the Cuntrye, came to 17l . 1s . 0d . this 22 of Nov. 1628. From the Kinges company att the Blackfryers. (Adams, Dramatic Records, 43)

88. Overbury, Thomas, Thomas Overburie His Wife. STC 18916. UMI 1424:12

For a reference to Don Quixote’s fulling mills (DQ 1.20), see STC 18908 (1615); in this edition, the passage in “A Roaring Boy” is found on sig. M1v .

1

2

A good many facts about Featherstone and the importation of books are given in R. J. Roberts, “The Latin Stock (1616–1627) and its Library Contacts,” in Libraries and the Book Trade, ed. Robin Myers et al. (New Castle, DE: Oak Knoll Press, 2000), 15–28. See major entry for Custom of the Country under Beaumont and Fletcher, 1647.

@

1629

#

89. Fletcher, John, and Philip Massinger The Prophetess in The Dramatic Records of Sir Henry Herbert As head of the Office of Revels, Herbert was entitled to the proceeds of a summer benefit performance by the King’s Men, and in 1629 it happened to be a John Fletcher play featuring a character who is strongly reminiscent of Cervantes’s Sancho Panza. Herbert writes: The benefit of the summers day from the kinges company, being brought mee by Blagrave, upon the play of The Prophetess, comes to, this 21 of July, 1629,—6l . 7s. 0d . (Adams, Dramatic Records, 43)

William Blagrave was Herbert’s deputy at the time, and the money he brought to Herbert presumably had to be shared with the “housekeepers,” or owners, of the Globe.1 90. Heylyn, Peter, M ÈÍÒ¸ÍÔÛÏÔÚ: A Little Description of the Great World. STC 13279. UMI 1242:2 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35. 91. Lenton, Francis, The Young Gallants Whirligigg: or, Youths Reakes. STC 15467. UMI 842:10 The “reakes” in this title are “wanton or riotous tricks or practices” (OED), and as Knowles notes (no. 10), Lenton refers to Don Quixote in a section on a young rake’s progress. Instead of reading tomes on law, the scamp reads trashy books: Now here the ruine of the Youth begins, For when the Country cannot find out sinnes To fit his humour, London doth invent Millions of vices, that are incident To his aspiring minde; for now one yeare Doth elevate him to a higher sphere; And makes him thinke he hath atchieved more, Then all his fathers auncestors before. Now thinkes his father here’s a goodly Sonne, That hath approached unto Littleton,2 1 2

See major entry for The Prophetess under Fletcher and Massinger, 1647. Sir Thomas Littleton (before 1417–81) was the author of the famous treatise on tenures referred to here. With the later addition of Sir Edward Coke’s commentary, his work long continued to be the major authority on real property law in England.

64

cervantes in seventeenth-century england But never lookt on’t; for in stead of that Perhaps hee’s playing of a game at Cat.3 No, no, good man, hee reades not Littleton, But Don Quix Zot, or els The Knight o’th Sun.

(sig. B2r–v )

92. Shirley, James, The Wedding. As It Was Lately Acted. STC 22460. UMI 939:10

As early as 1626, near the beginning of his long, successful, and highly varied career as a dramatist, Shirley (1596–1666) wrote his comedy called The Wedding—which, since he was in favor at court, was played by Queen Henrietta’s Men. Apparently not printed until 1629, the play contains a passage in the fourth act that is unlikely to have occurred to the playwright had he not recollected one of the most famous episodes in Don Quixote. Becker (in Aufnahme, 53) was perhaps the first to point out this passage as a likely allusion to DQ 1.8. The opening scene of Act 4 takes place in Hogsdon (or Hoxton) in Finsbury Fields, the site north of London where Jonson’s duel with Gabriel Spencer resulted in the death of Spencer and Jonson’s wounding and arrest. One Lodam (a cowardly fat gentleman) and Cameleon (servant to Rawbone, a cowardly thin citizen) await the arrival of Rawbone, who has been goaded into issuing a challenge to Lodam. Lod. Cam, see if he be come yet, bring mee word hither. Cam. I see one lying o’the ground— Lod. Is there so? lets steale way before we be discovered, I do not like when men lye perdue,4 beside, there may be three or foure of a heape, for ought we know: lets backe I say. Cam. Tis a horse. Lod. Hang him jade, I knew it could bee nothing else: is the coast cleare Cameleon? Cam. I see nothing but five or sixe. Lod. Five or sixe: treachery! an ambush, tis valour to runne. Cam. They bee Wind-mills. Lod. And yet, thou wod’st perswade me, twas an ambush for me. (sig. H2v )

The windmills were real; it is said that in 1549, during the days of Edward Seymour, Protector Somerset, many cartloads of bones were removed from St. Paul’s and dumped in Finsbury Fields, and that windmills were built on the large mound that resulted.5 Other editions: STC 22461 (1633), sig. G2r−v ; S3493 (1660), sig. F2r . 3

4 5

A game at Cat: the game called tip-cat is played with a small piece of wood that is tapered at both ends. Called a “cat,” it is struck smartly with a “cat-stick” that makes it “spring from the ground” (OED). Perdue: i.e., “per dieu,” “perdie,” etc.: “By God!” (OED). Ebenezer Cobham Brewer, Dictionary of Phrase and Fable, rev. edn. (Philadelphia: J. B. Lippincott [n.d.]), 1305.

1629

65

93. Wilkins, George, The Miseries of Inforst Mariage. STC 25637. UMI 1400:6

For a reference to one “armed to fight with a windmill,” likely an allusion to DQ 1.8, see STC 25635 (1607); in this edition, the passage is found on sig. F1v .

@

1630

#

94. D’Avenant, William, The Cruell Brother. STC 6302. UMI 1170:8 In the latter part of 1626, when the very young William D’Avenant (1606–1668) wrote The Cruel Brother, he leavened his tragic matter with a comic strand in which the main character is a “rustick” fellow named Borachio (Spanish borracho, “drunken”). Perceived by Koeppel to be descended from Cervantes’s Sancho Panza,1 Borachio is the servant companion of Lothario, a country gentleman who, like Don Quixote, makes his way to the court of a duke. Like Sancho, Borachio is repeatedly shown to be “a bundle of proverbs” (sig. C3r ). For example, about to flee from trouble, he takes time to observe, “He that cannot runne for his Liberty | Hath no courage in his Heeles” (sig. F1v ). Also like Sancho, Borachio is the sort of simple, grounded fellow who, according to his master, will “believe nothing but that which may be seene or understood” (sig. C3v ). When occasion suggests he might aspire to become a knight, his frank response is “A figg | For a Knight-errant; that hath a stile, and nere a hedge” (sig. D4r ), but later, and not unlike the socioeconomically awakened Sancho, he claims, “Concerning those Offices. Ive thought on ’em, | And will have ’em all” (sig. F2r ) and “I’ve thought with much care on these Offices: | And finde my selfe fitting to be in ’em. | I will have ’em all; come Cut, and Long-taile”2 (sig. G4v ). In contrast, Lothario, his master, is consistently what another of D’Avenant’s characters calls a “Heade-peece fill’d with Whay” (sig. C3v ). In fact, much as Don Quixote wants Sancho to speak the language of knight-errantry, Lothario would have Borachio learn to “talke in the newest fashion. | I’le have my very Dogge barke i’th’ Courtly garbe” (sig. D3r ). And another character tries to enlighten Borachio by admonishing, “Looke, Thy Master’s building more Castles, in the Aire” (sig. D4v ). With a bravado that matches Don Quixote’s, Lothario himself warns some opponents, “Take off your hands; or I will tosse ye all | Into the cloudes, and kicke the Mountaines after ye” (sig. F2v ). At this point Borachio, in loyal support of him, bids others to “take good heede; | For my Master, can doe all this, and more too | I have seene him” (sig. F2v ). In short, though D’Avenant names neither Don Quixote nor Sancho in The Cruel Brother, it appears likely that he became indebted to Cervantes when he went about the fashioning of Lothario and Borachio. Knowles writes that the “first use of major characters” from Don Quixote occurs in this work.3 1 2 3

Koeppel, “Don Quixote, Sancho Panza und Dulcinea,” 92. Cut, and Long-taile: literally the phrase refers to all animals, whether with docked or undocked tails. Knowles, “Cervantes and English Literature,” 279.

1630

67

Also found in: The Works of S r William Davenant K t , D320 (1673), pp. 463– 86 (2nd pagination). 95. Massinger, Philip, The Picture. STC 17640. UMI 1856:35 This tragicomedy by Massinger was licensed on 8 June 1629 and published in 1630 with a dedication to the playwright’s friends of the Inner Temple. In the opening scene of the second act, Mistress Sophia dismisses her imprudent servant Hilario with an allusion to Don Quixote. Subsequently, in a conversation between Corsica (Sophia’s handmaid) and Hilario, Corsica implies, by invoking Don Quixote, that Hilario has done something very foolish indeed: Sophia. [Y]ou are Transform’d, and turnd Knight errant, take your course And wander where you please, for heere I vow By my Lords life (an oath I will not breake) Till his returne, or certainty of his safety, My doores are shut against thee. [Exit Sophia.] Corsica. You have made A fine peece of work on’t; how do you like the quality? You had a foolish itch to be an actor, And may strowle where you please. Hilario. Will you buy my share? Corsica. No certainely, I feare I haue already Too much of mine owne, I’le onely as a damsell (As the bookes say) thus far helpe to disarme you, And so deere Don Quixote taking my leaue, I leaue you to your fortune. (sig. D4v )

96. Massinger, Philip, The Renegado: or, The Gentleman of Venice. STC 17641. UMI 930:5

The Renegado, termed a tragicomedy by Massinger, was licensed for performance on 17 April 1624 (Adams, Dramatic Records, 28); it was entered in the Stationers’ Register on “22 Marcij 1629 [i.e., 1630]” (SR 4: 231) and published later that same year. As Warner G. Rice has noted, Massinger turned here to various English sources for his picture of Muslims and Turkish history,4 but it is no less certain that he was much indebted to Cervantes. Since Cervantes himself was captured by pirates and spent five years as a slave in Algiers, he naturally wrote on the subject. About the turn of the last century, Emil Koeppel, succeeded by Theodor Heckmann, pointed out that in depicting the experiences of Christians held as slaves in North Africa, Massinger turned not only to Cervantes’s Historia del cautivo (The Captive’s Story) a narrative intercalated in Don Quixote 1.37–41 and available in Thomas Shelton’s translation, but also to Cervantes’s comedia called Los baños de Argel (The Prisons of 4

Rice, “The Sources of Massinger’s The Renegado,” Philological Quarterly 11 (1932): 65–7.

68

cervantes in seventeenth-century england

Algiers), which was not available in English.5 In fact, Koeppel and Heckmann found that Massinger’s Antonio Grimaldi (the renegade), Vitelli (a Venetian gentleman disguised as a merchant in order to search for his enslaved sister, Paulina), and Donusa (niece of the sultan) all reflect characters in both of Cervantes’s works. John Loftis observes: “It would be a reasonable guess that Massinger first became aware of the subject’s possibilities by reading the story in a readily available English translation, and that he then read more widely and found in the untranslated play more comprehensive suggestions for his own play.” 6 Regarding Massinger’s source for the plot, G. E. Bentley thinks that “Massinger took his material for the play from Cervantes’s ‘Story of the Captive’ in Don Quixote (part I, book iv, chapters xii–xiv) and from his Los Baños de Argel, from which Heckmann cites numerous parallels.”7 Knowles, however, believes the evidence is “entirely unconvincing.”8 Edwards and Gibson note in their commentary on this play that Massinger may also have made use of El amante liberal, one of the Novelas ejemplares (2.24). 97. Overbury, Thomas, Thomas Overburie His Wife. STC 18917. UMI 1323:4

For a reference to Don Quixote’s fulling mills (DQ 1.20), see STC 18908 (1615); in this edition, the passage in “A Roaring Boy” is found on sig. M1v . 98. Randolph, Thomas, Aristippus: or, The Joviall Philosopher: to Which Is Added, The Conceited Pedlar. STC 20686. UMI 1078: 18, 1824:5, and 663: 1 (as STC 20686a)

Randolph (1605–1635), a precocious poet in both Latin and English, and a much-admired Son of Ben (Jonson), is best remembered as a playwright and most unusual as an academic who had something of a career in the professional theater. His frequently reprinted Conceited Pedlar, which dates back to his Trinity College days, is a monologue spoken by “Tom.” As Gustav Becker notes (Aufnahme, 42), Tom refers to Don Quixote and alludes to Dulcinea: And to thine honour, by this kisse, I’le daily weare my Packe in this, And quickly so beare thee more fame, Then Quixot the Knight Errants dame. (p. 44) 5

6 7 8

Koeppel, Quellen-studien zu den Dramen George Chapman’s, Philip Massinger’s und John Ford’s (Strassburg: Karl J. Trübner, 1897); and Heckmann, Massinger’s “The Renegado” und seine Spanischen Quellen (Halle: Hofbuchdruckerei von C.A. Kaemmerer, 1905). Loftis, Renaissance Drama in England & Spain (Princeton: Princeton University Press, 1987), 257. Bentley, The Jacobean and Caroline Stage, vol. 4 (Oxford: Clarendon Press, 1967), 813. “Cervantes and English Literature,” in Cervantes across the Centuries, ed. Angel Flores and M. J. Benardete (New York: Dryden Press, 1947 [i.e., 1948]), 282.

1630

69

Other editions: STC 20686.5 (1630), p. 44; STC 20687 (1630), p. 44; STC 20688(1631), p. 36 (really p. 44); STC 20689 (1635) p. 44; STC 20690 (1635?), p. 37 (altered text). Also found in some editions of Poems: R241 (1643), not present; R242 (1652), p. 42, 4th pagination (sig. P6v ); R243 (1652), pp. 41–42, 3rd pagination (sig. P6r–v ); R244 (1664), p. 335; R245 (1668), p. 335; R246 (1668), p. 335. 99. Roe, Thomas, Letter to Elizabeth, Electress Palatine and Queen of Bohemia. NA SP 16/174/102 In 1613, Sir Thomas Roe (1581–1644), a gentleman of the privy chamber, was chosen by James I to escort his daughter Elizabeth to Heidelberg on the occasion of her marriage to Frederick, the Elector Palatine of the Rhine. A witty, honest, wise, and courageous man of the world who served as England’s ambassador to India, Constantinople, France, Sweden, the Netherlands, and elsewhere, Roe also proved to be a faithful friend to Elizabeth. In this letter from St. Martin’s Lane, London, dated 29 October 1630, he writes to Elizabeth (then residing in the Netherlands) regarding the treaty of Ratisbon between Spain and France. I am not halfe so wise, as I was the last yeare . . . & I know now less, then when I thought I knew nothing & am not sorry for it: the next yeare wilbe a blabb, 9 & tell all, & we shall know who is cosened.10 for now the Jugglers are in high action, at Ratisbone where I wish, they may not mistake the great medicine of peace, & make Rats-bane for us all proscribed hereticques. . . . [A]nother general calamitye, we have had no playes this six moneths, & that makes our grate men see the goodness of them . . . for if our heads had beene filled with the loves of Piramies & Thisbe, or the various fortunes of Don Quixotte, we should never have cared, who had made peace or war but on the stage.11 But now every foole is enquiring what the French doe in Italye, & what they breake in Germany. . . . I find it safe enough, to be your Majesties foole, & if you laugh at me, it is all I aske & if you doe not, I shalbe more sorry for the melancholy, then my folly.

100. Taylor, John, All the Workes of John Taylor the Water Poet. STC 23725. UMI 977:11

For a reference to Don Quixote’s travels, see The Pennyles Pilgrimage (1618); in this edition the passage is found on p. 133 (1st pagination). For a reference to Don Quixote as a great man of arms, see The Great O’Toole (1622); in this edition the passage is found on p. 16 (2nd pagination). For a reference to Don Quixote alluding to his fierceness in battle, see Taylors Goos (1621); in this edition the passage is found on p. 111 (1st pagination). 9 10 11

Blabb: a variant of “blab,” meaning to talk without discretion. Cosened: cozened, deceived or tricked. Some interesting questions might be raised by this linking of Cervantes’s Don Quixote with the ancient tragic lovers Pyramus and Thisbe (see Ovid’s Metamorphoses, bk. 4; Shakespeare’s Midsummer Night’s Dream).

70

cervantes in seventeenth-century england

The first known edition of A Bawd is also in the Workes, so the relevant passage is reproduced here. As Knowles notes (no. 12), it was issued separately in 1635. Wel fare the Common-wealth plotted by Plato, who would have no woman appropriated to any man (it seemes he was a great enemie against inclosures, who would have all thus lye common) his reason was very Phylosophicall, the like whereof is not to bee found either in Don Quixot, or Sir Thomas Moores Utopia. (sig. C1v –2r )

@

1631

#

101. Drayton, Michael, Nimphidia in The Battaile of Agincourt. STC 7191. UMI 2076:6

For a reference to the adventures of Don Quixote and Sancho Panza in “Nimphidia, The Court of Fayrie,” see STC 7190 (1627); in this edition, the passage is found on sig. M7v . 102. Heylyn, Peter. The Historie of That Most Famous Saint and Souldier of Christ Jesus: St. George of Cappadocia Asserted from the Fictions. STC 13272. UMI 962:5 At this time chaplain-in-ordinary to Charles I, and well aware of the king’s fondness for the Order of the Garter, Heylyn writes about St. George, patron saint of both England and the Order. In writing about St. George’s early career, he recalls Don Quixote: [George] came to the Country of Lybia, and to the Citie of Sisera, (A City, as Don Quixote said of his Kingdome errant, that is not to bee found in all the Map.) (p. 18)

Heylyn twists Don Quixote’s words here in order to suit his own ends. In the passage that he seems to be remembering, the Don is actually trying to explain to his housekeeper the important difference between courtier-knights who travel only by looking at a map and true knights errant who are out in the real world (DQ 2.6). Another edition: The Second Edition, Corrected and Enlarged, STC 13273 (1633), UMI 1106:5, reference deleted. 103. Heylyn, Peter. ÃÈÍÒ¸ÍÔÛÏÔÚ: A Little Description of the Great World . STC 13279.5. UMI 1853: 24 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35. Another edition in 1631: STC 13280 (UMI 1415: 13), p. 35. 104. Lloyd, David, The Legend of Captaine Jones. STC 16614. UMI 1246:2 Whether or not the hero of this “legend” is based on a once-living Welshman is difficult to say (see Fig. 8). In any case, as Lloyd (1597–1663) depicts him, Jones has a “combate with a mightie Bear,” does “furious battell” with thirtysix soldiers “against the Armie of eleven Kings” (and defeats the latter), as well as fights at sea “with sixe huge Gallies of Spain, and nine thousand Souldiers” (title page). In the passage quoted here (noted by Knowles, no. 24), Jones is ready to take on Don Quixote:

72

cervantes in seventeenth-century england

8. This frontispiece for The Legend of Captaine Jones (1656) merges various times and events. It depicts not only the armored Jones in combat with the giant Bahader but also Bahader’s head and buckler beneath the hoof of Jones’s mount. Toward the bottom of the picture are a number of other crowned heads, and beneath them a fallen lion and a coffin labeled “Sic Transit Gloria Mundi.” The middle distance shows both a shipwreck suffered by Jones and the dolphin that rescued him from it. At the top, summarizing all, the angel-like figure of Good Fame flies across the sky trumpeting Jones’s great deeds.

1631

73

Thus plum’d with Laurell, Jones for England came, Where George of Cumberland, rapt with his fame, Wooes him to be Vicegenerall of his fleet; Which Jones vouchsaft, because he was to meet Men like himselfe, the doughty Dons of Spaine, Whose honour (or lose all) he vow’d to gaine. And better fate in this designe he wisht not Then to cope single with their great Don Quixot. (p. 9)

The reference to “George of Cumberland” helps to place the time of Jones’s exploits: George Clifford, third Earl of Cumberland, sailed against the Armada, fitted out ten privateering expeditions against the Spanish, and died in 1605. Other editions: STC 16615 (1636), p. 9; L2630 (1648), p. 9; L2631 (1656), pp. 9–10 (and another, sig. A7v ); L2632 (1659), pp. 9–10 (+ sig. A7v ); L2633 (1671), pp. 9–10 (+ sig. B7v ); L2634 (1671), pp. 9–10 (+sig. B7v ). The Legend of Captaine Jones: Continued from His First Part, [part 2 only]: L2635 (1648), (UMI 1705:10), nothing. 105. Massinger, Philip, and Thomas Dekker, TheVirgin Martir, a Tragedie. STC 17645. UMI 2082:4 For a likely allusion to DQ 1.8, see STC 17644 (1622); in this edition, the passage is found on sig. D3v . 106. Randolph, Thomas, Aristippus: or, The Joviall Philosopher. STC 20688. UMI 1780:3

For a reference to Don Quixote and an allusion to Dulcinea in The Conceited Pedlar, see STC 20686 (1630); in this edition, the passage is found on p. “36” (really p. 44). 107. Stephens, John, Essayes and Characters. STC 23251. UMI 1465:11 For a reference to a person with shallow wit having stolen such as he possesses from Don Quixote, see STC 23250 (1615); in this edition, the passage is found on sig. A8r–v .

@

1632

#

108. Burton, Robert, The Anatomy of Melancholy. STC 4162. UMI 633:2 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 262. 109. Massinger, Philip, and Nathan Field, The Fatall Dowry: A Tragedy. STC 17646. UMI 1074:17 Regarding the source of the plot of The Fatall Dowry, Bentley says: “In his edition [Lacy] Lockert could find no certain source for the play, though he, like others, noted the generally Spanish character of the main action. . . . Mr. John Thomas Lister discusses the possible relationship of The Fatall Dowry to Cervantes’s ‘El Caloso [sic] Estremeño’ and his ‘El Viejo Celoso’, but he seems to conclude—rightly—that there wasn’t any” (Jacobean and Caroline Stage, 4:785). Knowles (“Cervantes and English Literature,” 283) says there are “no grounds” for regarding Cervantes as the source. Nevertheless, Edwards and Gibson note (Plays and Poems, 5:104) that one should consider the occurrence (in 3.1.441–2) of the phrase “Away, thou curious impertinent | And idle searcher of such leane nice toyes.” This is very likely an allusion to Cervantes’s El curioso impertinente (DQ 1.33–5), which was incorporated in Shelton’s translation of Don Quixote as “The Historie of the Curious Impertinent.” 110. Overbury, Thomas, Thomas Overburie His Wife. STC 18918. UMI 1607:2

For a reference to Don Quixote’s mills, likely an allusion to DQ 1.20, see STC 18908 (1615); in this edition, the passage in “A Roaring Boy” is found on sig. M1v . 111. Randolph, Thomas, Oratio praevaricatoria1 Placed immediately after this piece of Latin prose is, as Becker notes (Aufnahme, 42), a Latin poem in which Randolph refers to Don Quixote. Considering that Randolph is a good writer at play here, readers may make what they will of the implications of the comically mixed and sizeable company in which he places the would-be knight. In an orgy of name-dropping he mentions, in order: Jack Drum, a figure suggestive of rough treatment, as in John Marston’s Jacke Drums Entertainment (1601); Tom Thumb, according to tradition, a dwarfish man, 1

“Oratio praevaricatoria Thomae Randolphi. 1632” was first printed in W. Carew Hazlitt’s edition of Randolph’s Poetical and Dramatic Works, vol. 2 (London: Reeves and Turner, 1875), 671–80.

1632

75

seen, for example, in Richard Johnson’s History of Tom Thumbe (1621); François Rabelais’s Gargantua (1534), which depicts an amiable giant; Tamburlaine (or Tamerlane), the ruthless fourteenth-century Tartar conqueror in Asia, familiar to Randolph partly through Marlowe’s plays about him (Tamburlaine the Great, Part One [1587]; Part Two [1588]); Palmerin d’Oliva, the famous hero of an anonymous Spanish chivalric romance from the early 1500s; Albovine, the central figure in William Davenant’s play called Albovine, King of the Lombards (1629); Thomas Coryate, the once well-known English traveler and buffoon, perhaps best remembered for writing Coryate’s Crudities (1611); Technogamia: or, The Marriage of the Arts (1618), an allegorical university play by Barten Holyday (1593–1661); Pericles, the ancient and great Greek statesman; Orlando, a lover who goes mad in Ariosto’s Orlando furioso (1516); and Hieronimo, the avenging father who does likewise in Thomas Kyd’s Spanish Tragedy (1587). The poem reads: Jam sileat Jack Drum: taceat miracula Tom Thumb; Nec se gigantem jactel [i.e. jactet] Garagantua tantum; Nec ferat insanus sua prælia Tamberlanus, Nec Palmerinus, nec strenuus Albovinus. Se quondam ratus sapientem Tom Coriatus, Et Don Quichotte dicit, sum nunc idiota! Nunc metuit dia divortia Technogamia: Insignis Pericles non audet tam celebres res. Impiger Orlando jam non est tam furioso; Non te, Jeronyme, cogemus surgere lecto.2 . . . . . . . . Dicunt hoc puerile Odium vicisse Senile,3 Hic est sensus non, et possis ludere checkstone. 4 Jam peracta est Fabula—Plaudite.

A possible translation of these lines might be:5 Now let Jack Drum fall silent; let the miracles of Tom Thumb be still. Nor let Gargantua boast himself such a giant; Nor let crazy Tamburlaine celebrate his battles, Nor Palmerin, nor energetic Albovine. Tom Coryate once reckoned himself wise, And Don Quixote said “I am now an idiot!” Now the divine marriage of the arts fears divorce. Famous Pericles does not dare such great works. 2

3 4 5

Randolph calls to mind Hieronimo’s most famous lines in Thomas Kyd’s Spanish Tragedy: “What out-cries pluck me from my naked bed, | And chill my throbbing heart with trembling fear . . . ?” (2.5.1–2). Hazlitt observes that Randolph’s friend Peter Hausted wrote a Latin comedy called Senile Odium (c.1627–31), 2.680. Checkstone: a children’s game played with small round pebbles (OED). With thanks to Professor Kent J. Rigsby, Department of Classics, Duke University.

76

cervantes in seventeenth-century england Tireless Orlando is now not so furious. We will not force you, Hieronimo, to get up from your bed. . . . . . . . . . They say this childish hatred defeated an old man’s. Here there is no sense, and you can play checkstone. Now the story is concluded—applaud.

112. Reynolds, Henry, Mythomystes Wherein a Short Survay Is Taken of True Poesy. The Tale of Narcissus. STC 20939. UMI 1002:18 In this early study of literature, Reynolds (fl. 1628–1632)—who was himself a poet, critic, and translator—includes a section on Spanish writers in which he knowledgeably names some of the best. Besides referring to Don Quixote (as noted by Knowles, no. 11), he mentions Celestina (c.1499–1502) by Fernando de Rojas, translated by Mabbe (1631); the anonymous Lazarillo de Tormes (1554?), earliest of known picaresque narratives, translated by David Rowland (1576?; first extant edition, 1586); the Diana (1559) of Jorge de Montemayor, succeeded by La segunda parte de la Diana (1564) of Alonso Pérez and Diana enamorada (1564) by Gaspar Gil Polo, all translated by Bartholomew Yong (1598); and Alemán’s Guzmán de Alfarache (pt. 1, 1599; pt. 2, 1604), also translated by Mabbe (1622). Most intriguing, perhaps, the passage cited here closes with mention of “Gitanillas”—in part, perhaps, a reference to Cervantes’s La gitanilla, the first story in his Novelas ejemplares. Reynolds writes: From the multitude (I say) of the common rimers in these our moderne times, I will exempt some few, as of a better ranke and condition than the rest. And first to beginne with Spaine. I will say it may justly boast to have afforded (but many Ages since) excellent Poets . . . but for other Poesies in their (now spoke[n]) tongue, of any great name, (not to extoll their trifling, though extolled Celestina, nor the second part of their Diana de Monte Major, better much than the first; and these but poeticke prosers neither,) I cannot say it affords many, if any at all: The inclination of that people being to spend much more wit, and more happily in those prose Romances they abound in, such as their Lazarillo, Don Quixote, Guzman, and those Cuenta’s of their Picaro’s, Gitanillas, than in Rime. (pp. 5–6)

113. The Swedish Intelligencer. The Second Part. STC 23524. UMI 561:6 William Watts (c.1590–1649), a Church of England clergyman and writer, published this serial anonymously. In The Second Part, where he praises King Gustavus Adolphus, he compares the Swedish monarch’s extraordinary horse with Bucephalus and “Ronsarte.” Bucephalus is, of course, Alexander’s horse, and it seems likely that “Ronsarte” is an error for “Rocinante.” The passage reads: The King thus retired from Ingolstat; those of the Towne made diligent search for the carkasse of his horse, which they had shot under him, and He had cause to be buried. The Horse being found, and digg’d up (which no doubt was a sweet

1632

77

finding) his hide was very curiously taken off, stuft with straw, and hangd up in Ingolstat for a Trophee, they triumphing over it very gloriously, and insulting upon the Kings Rising. The horse was a white ambler, which the King very much delighted in: it was his Ronsarte, his Bucephalus, on which he used to ride about his Army: and yet did he never thinke, his horse should have beene so much made on. (p. 164)

Other editions: STC 23524a (1632), a variant imprint, same pagination; STC 23525.2 (1634), a collection including four parts, p. 164 (2nd pagination).

@

1633

#

114. Heylyn, Peter, ÃÈÍÒ¸ÍÔÛÏÔÊ: A Little Description of the Great World. STC 13281. UMI 1176:14 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35. 115. Martin, Robert, Catalogus librorum quos (in ornamentum reipublicæ literariæ) ex Italia selegit R. Martine, apud quem prostant venales. STC 17512. UMI 1577:7 In this catalogue published in London, under the heading “Libri varii Italici,” the bookseller Martin (fl. 1635–1641), who specialized in Italian works, lists a Venetian edition of Don Quixote: “Don Chisciote della Mancia 8 [octavo]. Venetia 1625” (sig. G3r ). 116. May, Thomas, The Heire. An Excellent Comedie. STC 17714. UMI 895: 8 and 1354:12

For references and allusions to Don Quixote and Dulcinea del Toboso, see STC 17713 (1622); in this edition the passage is found on sig. B3r . Another edition in 1633: STC 17714a, UMI 1387: 17, same pagination. 117. Shirley, James, The Wedding. As It Was Lately Acted by Her Majesties Servants. STC 22461. UMI 939:11 For a reference to a windmill being mistaken for an enemy, a likely allusion to DQ 1.8, see STC 22460 (1629); in this edition, the passage is found on sig. G2r–v .

@

1634

#

118. Hawkins, William, Corolla varia. STC 12964. UMI 1105:5 The master of Hadleigh School, Suffolk, and later curate to the rector of Hadleigh, Hawkins includes in this variegated work a section with a separate title page, “Nisus verberans et vapulans, Decantatus per Musas Virgiferas [et] Juridicas.”1 Here is a poem signed “Melitityrus” that mentions various famous literary horses, including Rocinante. The fun of the juxtaposition here is enhanced if one remembers that Cervantes was working with the word rocín, which refers to a hack or jade, an everyday kind of workhorse. Bayardo, Ronzinant, prince Arthurs horse, The snappant hobbie-horse in Ignoramus, For pace, for race, for fierce & dauntlesse force, Of old, or lately are, or have been famous. But this blinde Bayard since his dirtie fall Is dubbed with renown above them all. (sig. C1v )

“Ronzinant” is marked with a shoulder note: “Don Quixot’s horse.” Bayardo is likewise identified as “Rogero’s horse.” Bayard is from Boiardo’s Orlando innamorato and Ariosto’s Orlando furioso. The “snappant hobbie-horse in Ignoramus” is a reference to a talking horse in George Ruggle’s Ignoramus, a Latin play much enjoyed by King James in 1615. 119. Reynolds, John, The Triumphs of Gods Revenge. STC 20944. UMI 1529:2

In the story titled Antonio and Berinthia a character demonstrates the popularity among women readers of Cervantes’s “Historie”—which might be taken to refer either to The History of Don-Quixote (pt. 1) or The Travels of Persiles and Sigismunda. A Northern History. See STC 20943.3 (1622). In this edition, the passage is found on p. 112. 120. Shirley, James, The Triumph of Peace. A Masque. STC 22458.5. No UMI

Sometime a student at both Oxford and Cambridge, James Shirley (1596–1666) proceeded to make a good name for himself as a poet but is now remembered mainly as the writer of about forty plays—the best being those that anticipated the repartee of Restoration comedy. Very different in tone, then, is the robust comedy bursting forth in parts of his Triumph of Peace, a masque sponsored by the four Inns of Court and 1

That is to say, “Nisus, beating and flogging, having sung through the medium of judging and canebearing muses.” Nisus, King of Megara, was killed by his daughter, Scylla.

80

cervantes in seventeenth-century england

presented at the Banqueting House at Whitehall Palace on 3 February 1634. The production was designed by Inigo Jones and supplied with music by William Lawes, Simon Ives, and Bulstrode Whitlocke. It turns out that The Triumph of Peace (probably responding in part to real voices ready to disturb England’s peace) managed to attract more attention than was accorded most English masques because, prior to the show, the gentlemen of the Inns of Court and all the costumed performers paraded to their destination through some of London’s streets, beginning at Ely House and proceeding down Chancery Lane, streets that had been “very well cleansed” for the event.2 The long procession was led by the king’s marshal and his torch bearers, followed by members of the Inns of Court, and then by the musicians and other performers, many in chariots and others afoot. After arriving eventually at Whitehall, where King Charles and Queen Henrietta Maria expressed their delighted approval of the procession (indeed, asked that some of it be repeated), the masque proper began. Far along in this complex production, then, as Knowles took note (“Cervantes and English Literature,” 279), and toward the close of some anti-masque business involving both music and birds (a magpie, crow, jay, and kite, all played by boys), an entry was made by three dotterel-catchers, clearly occasioning some lively comic business as soon as the bird-catchers commenced scrambling about on their mission to catch the bird-boys. Then at last, as the published script of the masque records (eventually at least three printings of the script were called for), and after the dotterels had exited, there entered A Windmill. A phantastique Knight and His Squire armed.

The phantastique Adventurer, with his Lance makes many attempts upon the Windmill, which his Squire imitates: these having expressed their folly, and gone off, Enter —four bowlers (p. 11)

In other words, a fantastic knight and his squire join forces to attack a windmill, and all three must attack and defend as best they can until all go limping and staggering out of sight. Four bowlers then come on stage, and soon thereafter “conclude the Antimasque” (p. 11), thus enabling the masque proper to begin its ascent to a sufficiently serious and elevated close. As in 1605, then, when two Spanish players portrayed Don Quixote and Sancho in a great procession in Valladolid, the English players in London in 1634 played in the streets the wordless roles of a fantastic knight and his squire. Compared with the Spanish spectators, however, at least some of the English spectators had the great interpretative advantage of seeing the action of the masque and, within it, the telltale sight of an ambulatory windmill. 2

Numerous relevant documents are cited in Bentley, Jacobean and Caroline Stage, 5:1154–63.

1634

81

Moreover, the fun in February 1634 had not yet ended. Their royal highnesses liked the show so much that they requested that the masque be performed again a few days later at the Merchant Tailors’ Hall. Other editions in 1634: STC 22459, sig. C2r ; STC 22459a.5, C2r ; STC 22459b), C2r . 121. The Swedish Intelligencer. The Second Part. STC 23525.2. No UMI For William Watts’s reference to an extraordinary horse compared to Rosarte (read Rocinante), see STC 23524 (1632); in this collection of four parts of The Intelligencer, the passage is found on p. 164.

@

1635

#

122. Glapthorne, Henry, The Lady Mother Although licensed in 1635, this tragicomedy by Glapthorne (fl. 1635–1642) was first printed in 1958–9.1 In the third act (through lines 1517–18) one finds Clariana, daughter of Lady Marlove (the titular lady mother), addressing Sir Geffery, a country knight, in scornful terms that allude to Don Quixote: “was it you good knight of the ill favord Countenance who procur[e]d us these loving admonition?” (In the 1612 words of the translator Thomas Shelton, it is at Sancho Panza’s suggestion that Don Quixote decides he will “from hencefoorth” call himself “the Knight of the Ill favoured face” [DQ 1.19; p. 161].) In The Lady Mother, a short while after Lady Marlove poses her rhetorical question, Sir Geffery protests “Come you shall love me.” Clariana responds “go get you home antiquity” and calls him a “moonecalf ” (lines 1541 and 1551). Apparently with this exchange in mind, Koeppel (Archiv für das Studium, 97) cites 3.2. 123. Gower, John, Pyrgomachia, vel potius pygomachia: or in Cleane English, The Castle-Combat. STC 12141. UMI 1205:2 In “File II,” on the nature of the quarrel that precipitated this “castle combat,” there is a section entitled “Granger Sewster of Ashwel in Herford-shire, accounted a notable Duellist, whom James [Hadleigh] in a combat so fiercely pursu’d, that he rant into a Hogscoat” (i.e. a pigpen). Herein Gower recalls the valorous exploits of Don Quixote: This man doth talke, as he were wild, (Quoth Will) we know you are no child; Were you not he, that once a royster2 soild In Pigscote? In my conceit (nor doe I faine) Had you but met him, you had slaine, In Duell that victorius Knight of Spaine Don Quixot. (sig. B4r )

Another edition, with different title: The Cow-Ragious Castle-Combat, G1460 (1645), sig. B4r . 1 2

The Lady Mother by Henry Glapthorne (Oxford: Malone Society Reprints, 1958 [1959]) was prepared by Arthur Brown from BL MS Egerton 1994. Royster: a roisterer, swaggerer, reveler; akin to roaring boy.

1635

83

124. Martin, Robert, Catalogus librorum tam impressorum quam manuscriptorum, quos ex Roma, Venetiis, aliisque Italiae locis, selegit R. Martine apud quem vaeneunt. STC 17513. UMI 2006:9m, and UMI 1523:6

In a section of the catalogue headed “Libri Italici,” the London bookseller Robert Martin lists a work by Cervantes: “Michael Cervantez del Ingeniosissimo Don Chisiotte 8. Venetiis 1625” (p. 52). Though his Italian books far outnumber his Spanish ones, Martin includes a section labeled Libri Hispanici. Here, all on the same page and along with such works as the Gerardo of Gonzalo de Céspedes y Menéses, the Comedias of Lope de Vega, and the Tragicomedia de Callista [sic] y Melibea (i.e., the Celestina of Rojas), he recorded also: “Novellas Exemplares de Miguel de Cervantes 8, Barcelona 1631” (p. 57). Another issue in 1635: STC 17513.5, same pagination. 125. Randolph, Thomas, Aristippus: or, The Joviall Philosopher. STC 20689. UMI 1839:22

For a reference to Don Quixote and an allusion to Dulcinea in The Conceited Pedlar, see STC 20686 (1630); in this edition, the passage is found on p. 44. Another edition in 1635(?): STC 20690 (UMI 1428:2), p. 37. In this edition, the text has been altered and omits a direct reference to Don Quixote; the final line of the quotation reads: “Then ever did Knight Errants dame” instead of “Then Quixot the Knight Errants dame.” 126. Rouse, John, Appendix ad catalogum librorum in Bibliotheca Bodleiana qui prodiit anno domini 1620. STC 14451. UMI 741:14 Rouse (1574–1652), head librarian at the Bodleian since 1620, in later times would be remembered also for his friendly relations with John Milton, in particular for the mock-heroic Latin ode that Milton composed for him in 1647 when sending the library a replacement for a copy of his Poems (1645) that had somehow strayed from the company of its brother volumes. In the Appendix cited here (p. 43), Rouse included two copies of Shelton’s 1612 Don Quixote, pt. 1, and one of the 1620 continuation, pt. 2: Mich. Cervantes. De Don Quixote, Anglicè part 2. 4o L.32. & F.12. Lond. 1612.

127. Taylor, John, A Bawd. A Vertuous Bawd, a Modest Bawd: As Shee Deserves, Reproove, or Else Applaud. STC 23731. UMI 1118:10 For a reference to the fantastical nature of Don Quixote, see STC 23725 (1630); in this edition, the passage is found on sig. C1v –2r . Knowles notes (no. 12) the allusion in this edition.

@

1636

#

128. Elizabeth, Electress Palatine and Queen of Bohemia, Letter to Thomas Roe. NA SP 16/317/12 Over twenty years after Don Quixote had figured in her wedding celebrations in both England and the Palatinate (see 1613), Elizabeth (1596–1662), the “Winter Queen,” daughter of James I, casually recalled the Don in a letter to her friend Sir Thomas Roe. Himself a world traveler and ambassador of note, Roe previously had shared with her his views on a proposal that involved her third son, Prince Rupert. In 1636, not long after Rupert had been warmly welcomed in England by his uncle, King Charles I, an absurd plan was hatched to have him sail to Madagascar, conquer it, and become governor of an English colony there. Responding enthusiastically to the idea, William D’Avenant produced a long poem called Madagascar in which he rhapsodized hypothetically that Madagascar would be rich with sapphires, rubies, and diamonds and that Prince Rupert would reign there as “The first true Monarch of the Golden Isle.”1 For a variety of reasons, the Madagascar project was dropped and for the time being young Rupert returned to Holland. The whole affair reminded his mother, Elizabeth, of the island that Don Quixote promised to give Sancho—a theme that Cervantes introduced early and pursued throughout both parts of the work. In a letter from The Hague dated in early April, she says she has summoned Rupert to return to the Netherlands. She adds: I ame sure you know the Romance some would putt into Ruperts head of conquering Madagascar, where Porter2 they say is to be a squire when he shall Don Quixotte like conquer that famous island, but in earnest seek to put such windmills out of his head.

129. Heylyn, Peter, ÃÈÍÒ¸ÍÔÛÏÔÚ: A Little Description of the Great World. STC 13282. UMI 1382:1 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35. 130. Lloyd, David, The Legend of Captaine Jones. STC 16615. UMI 1278:16 For a reference to brave Captain Jones’s desire to take on the bravest Spanish warriors, even Don Quixote, see STC 16614 (1631); in this edition, the passage is found on p. 9. 1 2

The Works of Sir William D’Avenant (London, 1673), 211. Endymion Porter (1587–1649) was a courtier born of English gentry but, thanks to a Spanish grandmother, reared in Spain. In his later years he was one of King Charles’s closest confidants.

@

1637

#

131. Elizabeth, Electress Palatine and Queen of Bohemia, Letter to Sir Thomas Roe. NA SP 16/352/41 From The Hague in mid-April of 1637, Elizabeth wrote further (vide supra, 1636) of Prince Rupert’s aborted adventure: As for Ruperts Romance of Madagascar it sounds like one of Don Quixots conquests where he promist his trustie squire to make him king of an Ilande.

132. Morton, Thomas, New English Canaan or New Canaan. Containing an Abstract of New England. STC 18202. UMI 967:2 Morton, a Clifford’s Inn attorney, sailed to New England (1622), was sent home (1628), sailed again (1629), was banished a second time (1630), and returned home to produce the work at hand. The twelfth chapter of his New English Canaan is titled “Of a voyadge made by the Master of the Ceremonies of New Canaan to Neepenett.” When a certain Master Bubble inexplicably disappeared, the English demanded he be found immediately or else the native Americans would be destroyed. When he was found safe and sound, he told a Quixotic story of his adventures: The poore Salvages [sic] being in a pittifull perplexity, caused their Countrymen to seeke out for this maz’d man; who being in short time found, was brought to Wessaguscus; where hee made a discourse of his travels, and of the perrillous passages: which did seeme to be no lesse dangerous, then these of that worthy Knight Errant, Don Quixote, and how miraculously hee had bin preserved. (p. 128)

In chapter 15, “Of a great Monster supposed to be at Ma-re Mount; and the preparation made to destroy it,” there is a direct reference to Don Quixote’s fight with a windmill, an allusion to DQ 1.8: The nine worthies comming before the Denne of this supposed Monster, (this seaven headed hydra, as they termed him,) . . . began like Don Quixote against the Windmill to beate a party, and to offer quarter (if mine Host would yeald) for they resolved to send him for England, and bad him lay by his armes. (p. 142)

Another issue with a different imprint in 1637 (?): STC 18203 (UMI 1754:12), same pagination. 133. Thomason, George, and Octavian Pulleyn, Catalogus librorum in diversis Italiae locis emptorum, anno 1636. Qui Londini ad insigne Rosae prostant venales. STC 4789. UMI 1542: 4, 2006: 9o, 2006:11f Thomason (c.1602–1666), best known to later times for his invaluable collection of Civil War and Commonwealth publications, was also a bookseller. In

86

cervantes in seventeenth-century england

1637 he was working at the Sign of the Rose in St. Paul’s Churchyard with the elder Octavian Pulleyn. In the catalogue noted here, in a list of “Libri Hispanici,” they list: “Los Trabaios de Persiles y Sigismondo” (p. 45) and “Don Quixote 8” (p. 46). The catalogue apparently was compiled in 1636 but printed in 1637. 134. Wilkins, George, The Miseries of Inforst Mariage. STC 25638. UMI 1500:6

For a reference to one “armed to fight with a windmill,” likely an allusion to DQ 1.8, see STC 25635 (1607); in this edition, the passage is found on sig. E4r .

@

1638

#

135. Brathwaite, Richard, Barnabæ itinerarium: or, Barnabees Journall. STC 3556. UMI 1266:5 In the third part of this journal (as Knowles notes, no. 13), Brathwaite refers to a horse called “Rozinant,” clearly an allusion to Don Quixote’s horse: Thence to Kingsland, where were feeding Cattell, Sheepe, and Mares for breeding; As I found it, there I feared That my Rozinant was wear’ed: When he would jog on no faster Loose I turn’d him to the pasture. (sig. N2r )

This work is printed in parallel texts of English and Latin. “Rozinant” is translated as “equum” in the Latin verses (sig. N1v ). 136. Burton, Robert, The Anatomy of Melancholy. STC 4163. UMI 634:1 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 279. In this and subsequent editions, there is also a reference to Dulcinea. In part 3, section 2, member 3, subsection 1, Burton offers many examples of lovers who illustrate the blindness of a man in love. He does not name Don Quixote himself, but by citing the unusual name of his lady-love, he implicitly acknowledges him to be among the afflicted. A lover’s mistress may be a veritable hag, Burton writes, but to the lover “she is his Idoll, Ladie, Mistris, Venerilla, Queene, the quintescence of beauty, an Angell, a Starre, a Godesse” (p. 518). Though she has the “fragrancy of a thousand Curtesans,” to her lover she will be “his divine mistris, forsooth, his dainty Dulcinia, his deare Antiphila, to whose service hee is wholy consecrate, whom hee alone adores” (p. 518). Other editions: B6181 (1651), pp. 282, 522 (in 3.2.4.1); B6182 (1652), pp. 282, 522; B6183 (1660), pp. 282, 522; B6184 (1676), pp. 177, 320. 137. The entry formerly assigned to this number has been withdrawn.

88

cervantes in seventeenth-century england

138. Harley, Brilliana, Letter “To my deare sonne Mr. Edward Harley” Lady Brilliana Harley (1598–1643), the third wife of Sir Robert Harley of Brampton Bryan Castle in Herefordshire, would win a place in history as the survivor of a devastating siege at Brampton in 1642–3, when both Sir Robert and her son, “Good Ned,” were off to war. In the letter at hand, written 30 November 1638, when Ned was studying at Oxford, she thanks him for sending her a copy of Francis Godwin’s posthumous The Man in the Moone, which she likens to Don Quixote: I thanke you for the Man in the Moune. I had hard of the booke, but not seene it; by as much as I have looke upon, I find it is some kine to Donqueshot. I would willingly have the French booke you rwite [sic] me word of; but if it can be had, I desire it in French, for I had rather reade any thinge in that tounge than in Inglisch.1

Lady Brilliana’s comment on language, like her politics, religious inclinations, and writing, are all probably relatable to the fact that she was born in the Brill, Holland, when her father was lieutenant-governor there. And though references to reading are scattered throughout her letters, the family’s interest in The Man in the Moone was probably heightened by the fact that Francis Godwin had been Bishop of Hereford (1617–1633). 139. Massinger, Philip, The Duke of Millaine. STC 17635. UMI 1422:10 For a note detailing a possible allusion to DQ 2.48 in 2.1.169–70, see STC 17634 (1623); in this edition, the passage is found on sig. D2r . 140. Overbury, Thomas, Thomas Overburie His Wife. STC 18919. UMI 1323:5

For a reference to Don Quixote’s mills, likely an allusion to DQ 1.20, see STC 18908 (1615); in this edition, the passage in “A Roaring Boy” is found on sig. M1v . 141. Register of the Company of Stationers of London On 27 November 1638 Ralph Mabbe registered with the Stationers’ Company a book called “ffour true tragicomicall Histories of Late tymes” (Arber, Transcript, 4:419). The writer’s name was given as Diego Pude-ser—a fairly thin Hispanic disguise (Puede-ser > may-be) for the rather prolific translator James Mabbe. Having previously dedicated his translation of Alemán’s Guzmán de Alfarache to Sir John Strangeways of Dorset, Mabbe would now dedicate to Sir John’s 1

Thomas Taylor Lewis, ed., Letters of the Lady Brilliana Harley (London: Camden Society, 1854), 13–14.

1638

89

daughter-in-law his rendering of six (rather than the projected four) of the twelve narratives of Cervantes’s Novelas ejemplares (1613): Raph Mabb. Entred for his Copie under the hands of Master Wykes and Master Rothwell warden a booke called ffour true tragicomicall Histories of Late tymes by the names of the Lady Cornelia. The force of blood The two. Damsells. and The Spanish Lady [by] Don DIEGO PUEDE-SER.

See main entry under Cervantes, 1640 and 1654.

@

1639

#

142. C., N., Diatelesma: The Fifth Part or Number. Comprehending the Principall Actions of Germany, France, Spaine, and The Netherlands. Continued from November, 1637. STC 4293.8. UMI 1789:6 The second chapter of this part of Diatelesma, titled “Occurrences in the Netherlands,” provides some respite from the military combat that has preceded it: “The rough habit of war was put off for a season, and a solemne Tournament more usuall in peace then in War was performed at the Hage, by some noble personages” (p. 19)—the whole extended and grand occasion being a celebration of the February marriage of Johan Wolfert van Brederode (1599–1655) and Louise Christine van Solms-Braunfels (1606–1669). In order to keep things as peaceable as possible, the ladies desired “no bloudy testimony of . . . fidelity” but merely “the victory of three courses at the Ring” (p. 22). And toward the close of the festivities there was an interlude in which two performers representing Don Quixote and Sancho Panza took part: The conclusion was more comicall. Those pretended victorious enemies of Death and his Harbingers, sicknesse and sorrow, entred the List in this ranke. Their Avantguard consisted of six Lacquies clothed in carnation and silver, and two Pageants,1 one presenting Charons boat filled with passengers, among which were Hippocrates and Galen, the two great Physicians, and the other like a Stage with a Mountebank, and his man acting and selling drugs, and two Buffones representing Don Quixote, and his Quire [sic] Sancho Pancha. (p. 33)

Finally, and in order that so much “delight might not be too soon finished, the most excellent Princesse the Countesse Dowager of the Palatinate of the Rhine, the illustrious and most high-borne Lady Elizabeth her eldest daughter, and the Princesse of Orange gave three other Rings to the honour of such as could winne them” (p. 35). Perhaps most notable here is that, a quarter-century after her own nuptial celebrations, James I’s daughter Elizabeth, the Winter Queen, attended another wedding in which Don Quixote appeared as a figure of mirth. 143. Camus, Jean Pierre, Admirable Events: Selected Out of Foure Bookes. Trans. S. du Verger. STC 4549. UMI 1166:7 Bishop of Belley, Vicar General of Rouen and friend of St. Francis de Sales (canonized 1665), Camus (1584–1652) was a writer who, in addition to his numerous theological writings, produced many works of religious fiction. Here 1

Pageants: moveable stages, floats.

1639

91

in the author’s epistle to the reader, Camus refers to Cervantes and notes the popularity of his fiction: The enterprise which I have taken in hand, is to wrastle, or rather to encounter with those frivolous books, which may all be comprized under the name of Romants. . . . Amongst the Spaniards, above all writers of Romants, and great tellers of tales, novelties, and stories, those of Ceroantes [sic] are much esteemed: and truely having re[a]d them, I have found his wit to be very great in those small things. A man of the world, a great gyber and scoffer, and who handsomely, and to the uttermost, sets out his wares. Deigo Agrada2 hath followed these, adding unto his the surname of morall, because of the morals which he drawes at the end of those occurrences, which he recites. This man in my minde is more judicious, and lesse insolent, although he takes licence to flye out sometimes a little. (sig. A6r –a3v )

144. Chapman, George, and James Shirley, The Ball. STC 4995. UMI 919:11

Though the name of Chapman (c.1559–1634) appears together with Shirley’s on the 1639 title page of The Ball (which had been licensed 16 November 1632), some have thought that the play may have been the work of Shirley (1596–1666) alone. In any case, as Becker notes (Aufnahme, 53), in 2.3, in a conversation with Sir Marmaduke Travers, the Lady Lucina, a rich young widow, apparently alludes to Don Quixote’s encounter with windmills (DQ 1.8): Luc. I doe love One that has Wind-mills in his head.

(sig. C3r–v )

145. Clarke, John, Paromiologia Anglo-Latina in usum scholarum concinnata: or, Proverbs English and Latine, Methodically Disposed According to the Common-place Heads, in Erasmus His Adages. STC 5360. UMI 953:1

A schoolmaster and minister in Lincoln and Fiskerton (Lincolnshire), Clarke (d. 1658) studied at Cambridge (B.A. 1617, M.A. 1621), was ordained in 1625, and is deserving of respect for his often republished and obviously useful schoolbooks.3 For his 329-page Paroemiologia Anglo-Latina, the last of his schoolbooks, Clarke gathered adages from Erasmus’s Adagia, and then matched the Latin sayings as best he could with similar ones in English. The individual pages of the book are divided both vertically (English to the left, Latin to the right) and horizontally (according to theme). Well into his compilation, under the rubric “Inconstantiæ perfidiæ versutiæ,” on the English side, there are five adages, the second of which is “He hath wind milnes in’s head” (p. 158). While it is 2 3

Diego de Ágreda y Vargas (d. 1639), author of Novelas morales (Madrid, 1620). Edward A. Malone, Oxford DNB, 11:884–5.

92

cervantes in seventeenth-century england

encouraging to know that The Oxford Dictionary of English Proverbs asserts that the English saying “To have windmills in one’s head” refers to Don Quixote’s encounter with the windmills (DQ 1.8), one would be hard put to say when the saying became proverbial.4 (For a still earlier form, see supra, Massinger and Dekker’s The Virgin Martir [1622]). Another issue: C4472A (1646), same pagination. 146. D., T., The Bloodie Banquet. A Tragedie. STC 6181. UMI 1170:6 This work is sometimes attributed to Robert Davenport (fl. 1624–1640) and sometimes to Thomas Drue (c.1586–1627). Other candidates who have been suggested include Thomas Dekker and Thomas Middleton. Whoever the author may have been, Bentley observes that “Langbaine noticed the similarity of the Lorenzo-Abstemia plot to Don Quixote, Part IV, chapters 6–8 (Account of the English Dramatick Poets, 116–17), but the resemblance is still closer to Robert Greene’s Philomela; the Lady Fitzwater’s Nightingale” (Jacobean and Caroline Stage, 3:228). Bentley refers here to Cervantes’s inset story of “The Curious Impertinent” (DQ 1.33–5). 147. Elizabeth, Queen of Bohemia, Letter to Sir Thomas Roe, 28 May 1639. State Papers Relating to Germany, Public Record Office5 Addressing her English friend and frequent correspondent Sir Thomas Roe as “Honest Thom,” Elizabeth, the Winter Queen (1596–1662), reacts in this letter to his most recent report on matters of state. She then turns to Dulcinea and Don Quixote in order to both share and shroud some of her own news of a lighter sort: [M]y Dulcinea the reverent Countess is at last saflie returned out of England, my Lord Dukes grace did seek her love like Don Quixot and like a brave knight errant came from the armie to see her but is returned without anie hope of her sane corps, so if you die quicklie your wife may have him, for heere he was once her servant with the like fortune, I may after this fooling commend me to your ladie.

Barbara Kiefer Lewalski has identified the recently returned “Dulcinea” as Elizabeth’s friend the Countess of Lowenstein. 6 This was the rather daffy Elizabeth (“Bess”) Dudley Sutton, daughter of Edward, ninth Baron Dudley. She was a childhood friend who back in 1613 had journeyed to Heidelberg as 4 5 6

The Oxford Dictionary of English Proverbs, comp. William George Smith, ed. F. P. Wilson (Oxford: Clarendon Press, 1970; repr. 1975), 894. Cited from The Letters of Elizabeth Queen of Bohemia, comp. L. M. Baker, intro. C. V. Wedgwood (London: Bodley Head, 1953), 130–1. Lewalski, Writing Women in Jacobean England (Cambridge, MA: Harvard University Press, 1993), 46.

1639

93

one of Elizabeth’s maids of honor—and eventually wed Johann Kasimir von Lowenstein-Scharffeneck.7 148. Field, Nathan, Amends for Ladies. With the Merry Prankes of Moll Cut-Purse: or, The Humour of Roaring. STC 10853. UMI 795:4 For a note regarding Field’s indebtedness to Cervantes’s “Curious Impertinent” for elements of the plot of this “comedy full of honest mirth and wit,” see STC 10852 (1618). 149. Ford, John, The Ladies Triall. STC 11161. UMI 1023:12 A writer from Devonshire, in part a poet but mainly a playwright, Ford (1586– c.1640) is best remembered for ’Tis Pity She’s a Whore, The Broken Heart, Perkin Warbeck, and The Ladies Triall. In the latter, as remote as it may seem to the casual reader, William Gifford believes that the following passage in 4.2 is a clear allusion to Don Quixote, 2.26—wherein Don Quixote does battle with puppets.8 Futelli, Guzman (a Spanish braggadocio), Fulgoso, Piero, and Amoretta converse thus: Fut. Oh Don keepe off at further distance yet A little farther, doe you not observe How your strong breath hath terrifyed the Lady? Guz. Ile stop the breath of war and breath[e] as gently As a perfum’d paire of sucking bellowes In some sweete Ladies chamber, for I can Speake Lyon-like, or sheepe like, when I please. Fut. Stand by then, without noise a while brave Don And let her only view your parts, they’le take her. Guz. Ile publish them in silence. Pie. Stand you there Fulgoso the magnificent. Ful. Heare? Pie. Just there, Let her survey you both; youle be her choyce Nere doubt it, man. Fut. I cannot doubt it, man. Pie. But speake not till I bid you. Ful. I may whistle. Pie. A little to your selfe, to spend the time. Amo. Both foolth you thay. 9 Fut. But heare them for your sport. Pie. Don shal begin, —begin Don, she has surveyd 7 8 9

Carola Oman, The Winter Queen: Elizabeth of Bohemia, rev. edn. (London: Phoenix Press, 2000), 96, 205, 419–20. Gifford, ed., The Works of John Ford, rev. Alexander Dyce, vol. 3 (London: J. Toovey, 1869), 74. Foolth you thay: i.e., “fools you say.” Amoretta lisps.

94

cervantes in seventeenth-century england Your outwards and your inwards through the rents, And wounds of your apparell. Guz. She is politicke, My out-side Lady shrowds a prince obscurd; Amo. I thanke ye for your muthicke printh. Guz. My words Are musique to her. Amo. The muthicke and the thong You thent me by thith whithling thing, your man? Guz. She tooke him for my man, love thou wert just. Ful. I wonot hould, his man, tis time to speake Before my time, oh scurvy, I his man? That has no meanes for meat or ragges, and seame-rents. Guz. Have I with this one rapier. Pie. He has no other. Guz. Past through a field of pikes, whose heads I lopt As easily as the bloody minded youth Lopt off the poppy heads.10 Ful. The puppit heads. Guz. Have I—have I—have I? Ful. Thou lyest thou hast not, And ile mayn’t. Guz. Have I—but let that passe, For tho my famous acts were damb’d to silence, Yet my discent shall crowne me thy superior. (sig. H2v –3v )

Also found in: Comedies, Tragi-Comedies; and Tragædies, F1466A (1652), UMI 2723:3, same pagination. 150. Heylyn, Peter, ÃÈÍÒ¸ÍÔÛÏÔÊ: A Little Description of the Great World. STC 13283. UMI 1488:3 For a reference to Cervantes, the wit of Spain, and Don Quixote, the flower and cream of its kind, see Heylyn’s Microcosmos, STC 13276 (1621); in this edition, the passage is found on p. 35. Another edition in 1639 (misprinted 1939): STC 13284 (UMI 1603: 1), p. 35. 151. La Serre, Jean Puget de, The Mirrour Which Flatters Not. Transcrib’d English from the French, by T. C. STC 20490. UMI 1668:16 In Thomas Cary’s translation from Le miroir qui ne flatte point (1649), by Jean Puget de la Serre (1593–1665)—a popular writer and official historian of 10

Marchamont Nedham recalled that “Tarquin taught his Son Lucius to secure the Tyranny, by striking off the Heads of those Poppies in his Garden, which grew higher than their Fellowes” (The Case of the Common-Wealth of England [1650], 42).

1639

95

France—“The Scope addrest to the Serious” begins with a reference to Sancho Panza: Let merrier spleenes reade Lazarill’,11 or laugh At Sancho Pancho, or the Grapes-blood quaffe; And tickle up their Lungs with interlace Of Tales, and Toyes, that furrow up the face With wrinckling Smiles. . . .

(sig. B5v )

Other editions: L458 (1658), sig. a9r ; L458A (1664), sig. A10r ; L459 (1673), sig. A10r . 152. Martin, Robert, Catalogus librorum, ex praecipuis Italiae emporiis selectorum per R. Martinum apud quem venales habentur. STC 17514. UMI 1550:6 This is another of Martin’s catalogues published in London. In a section called “Libri Italici,” it lists a two-volume Venetian edition translated by Lorenzo Franciosini Fiorentini: “Don Chisciote della manca 8. Ven. 1625” (p. 49). 153. Reynolds, John, The Triumphs of Gods Revenge. STC 20945. UMI 1668:19

For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of Don-Quixote (pt. 1) or The Travels of Persiles and Sigismunda: A Northern History, see STC 20943.3 (1622); in this edition, the passage is found on p. 101. 154. Taylor, John, A Most Horrible, Terrible, Tollerable, Termagant Satyre. STC 23774.5. UMI 1643:6 In “3. Satyre. The Bragging Rogue,” the prolific, self-dubbed “Water Poet” writes: Another Coxe-combe boasts of ex’lent parts . . . To put him in the ranke of Don Quixot.

(p. 14; sig. B4v )

155. Taylor, John, Part of This Summers Travels: or, News From Hell, Hull, and Hallifax. STC 23783. UMI 1498:6 Whether on land or water, and despite his modest means, Taylor was an inveterate traveler (see Fig. 9). In This Summers Travels he made his way to Wakefield, down in West Yorkshire, where he called to mind the famous 11

Lazarill’ : a curtailed reference to Lazarillo de Tormes, the first and one of the best of Spain’s picaresque stories.

96

cervantes in seventeenth-century england

9. Taylor’s Motto: Et habeo, et careo, et curo (1621). Dressed as a royal waterman and standing astride a globe of the world, John Taylor holds a waterman’s scull in one hand (“I have”) and in the other displays the emptiness of his purse (“I lack”). The claim coming from his mouth (“I manage”) suggests his confidence that he can manage to get along, thus complementing the motto on the outcropping of rock where he stands secure (“Happy in miserye”).

1639

97

“Pinder” (roughly, “dog-catcher”) of Wakefield, George-a-Greene, who once won a fight with Robin Hood. As Knowles observes (no. 14), thoughts of the Pinder aroused Taylor’s thoughts on Don Quixote’s derring-do: From Leeds I went to Wakefield, where if the valiant Pinder had been living, I would have play’d Don Quixot’s part, and challenged him; but being it was so happy that he was dead, I past the Town in peace. (p. 40)

@

1640

#

156. Cervantes Saavedra, Miguel de, Exemplarie Novells in Sixe Books. The Two Damosels. The Force of Bloud. The Ladie Cornelia. The Spanish Ladie. The Liberall Lover. The Jealous Husband. Full of Various Accidents Both Delightfull and Profitable. By Miguel De Cervantes Saavedra, One of the Prime Wits of Spaine for His Rare Fancies and Wittie Inventions. Turned into English by Don Diego Puede-Ser [i.e. James Mabbe]. STC 4914. UMI 1092:14 James Mabbe (1572–1642?), the translator of several Spanish volumes, honed his language skills while serving as secretary to Sir John Digby in Madrid (1611– 13), when Digby, on behalf of King James, was trying to negotiate a marriage of, first, Prince Henry and then Prince Charles to the Spanish infanta. For this volume of Exemplarie Novells Mabbe chose to translate six of the twelve novelas in Cervantes’s Novelas ejemplares (1613). In the order that he presents the stories for English readers, the Spanish titles of the six are Las dos doncellas, La fuerza de la sangre, La Señora Cornelia, La española inglesa, El amante liberal, and El celoso extremeño. Since Mabbe lived his latter days at Abbotsbury, Dorset, in the home of his old friend Sir John Strangeways, he apparently found it easy to dedicate this collection to “The Worthie (and Worthily of all who know you to be much honoured) Mrs Susanna Strangwayes, Wife of Gyles Strangwayes Esquire, Sonne and Heir to Sir John Strangwayes Knight”: Young Ladies and Gentlewomen that are studious of reading good Bookes, (such as your selfe oft converse withall) when they finde their eyes waxe dull and weary, put their booke from them; and for their better refreshing and diversion, change the Sceane, and breathe themselves a while, till their spirits being thereby revived, they turne to their wonted strength and vigour. I have seene some of your Sexe, (especially such as have beene gentily bred) when they have wrought hard with their Needle upon some curious Worke, have laid that aside, and taken a Lute in hand, or some other musicall Instrument, and playd a Lesson or two thereon, to recreate themselves therewith, and anone after fall to their worke afresh: So naturall is it to all sorts of persons whatsoever to take delight in Variety. To harpe alwayes on one string, is harsh to the Eare. To feed still upon one Dish, doth but glut the Stomacke. Your wisest and learnedst Men both in Church and Common-weale, will sometimes leave off their more serious Discourses, and entertaine themselves with matters of harmelesse Merriment, and Disports. Such are these Stories I present unto your view. I will not promise any great profit you shall reape by reading them: but I promise they will be pleasing and delightfull; the Sceane is often varied, the Passages so pretty, the Accidents so strange, and in the end brought to so happy a Conclusion. Here, though one bit (as we say) will draw downe another, you shall not cloy yourselfe. These are but

1640

99

a few of running banquetting dishes:1 Take (as you like) here and there a little of each sort: which will but whet your Stomacke, and set an edge on your Appetite, against you come to feed your Understanding with meats more nourishable and substantiall. If you shall but kindly accept, and take in good part (which the sweetnesse of your Disposition cannot otherwise choose) this poore Pittance, you will encourage me to invite you to a more solemne Feast, worthier yourselfe, and him, who shall ever love and honour your Vertues and Goodnesse. (sig. A3r –4r )

157. Fletcher, John, Rule a Wife and Have a Wife. STC 11073. UMI 836:10

Rule a Wife and Have a Wife, licensed on 19 October 1624 and performed twice at court in the next few weeks, went on to become one of John Fletcher’s best-received plays. Though it is arguably indebted most heavily to El sagaz Estacio by Alonso Jerónimo Salas Barbadillo, it is more certainly a reworking of Cervantes’s El casamiento engañoso, the eleventh story in his Novelas ejemplares. The minor Perez–Estefania plot, which is based on Cervantes’s story and opens the play, works with the deceiver–deceived theme. Joan F. McMurray goes so far as to say that in the first six (of a total of twelve) episodes in the play “Fletcher took the action, characters, setting, and in some cases, the dialogue and minor action from Cervantes. In the other six . . . he used general ideas and situations from Cervantes’s story but his scenes are more original than derivative.”2 Though Fletcher certainly added a good deal of his own material, in no fewer than eleven of the twelve sections of the play he did at least some reworking of scenes and passages by Cervantes. See also An Equall Match (1662). Another edition: B1606 (1697). See also Beaumont and Fletcher’s collected works: Comedies and Tragedies, B1581 (1647) Fifty Comedies and Tragedies, B1582 (1679). 158. Glapthorne, Henry, Wit in a Constable. STC 11914. UMI 926:1. F Glapthorne’s comedy was first performed in 1636–8 and then revised in 1639. As Koeppel (“Don Quijote, Sancho Panza und Dulcinea,” 97) notes in a conversation between Thorowgood and Valentine (1.1), there are references to both Dulcinea and Don Quixote: Thor. Who’s that? my doughty Impe of spur and sword, Some faire Dulcina de Toboso. Val. No, tis Grace, daughter to Alderman Covet. Thor. I doe commend thee my dear Don, and will Be thy assistant, goe and see thy horse drest, And then approach my chamber. (sig. B4v ) 1 2

Running banquetting dishes: light refreshments between meals. McMurray, “John Fletcher and His Sources in Cervantes,” unpub. diss., University of Rochester (1987), 112.

100

cervantes in seventeenth-century england

In 4.1, Clare alludes to Don Quixote, one of whose epithets, assigned to him by Sancho Panza, is “Caballero de la Triste Figura” or, in Thomas Shelton’s English, “Knight of the Illfavoured face” (DQ 1.19). Speaking to Sir Timothy Shallowit, Clare also refers to Dulcinea by name: Clare. So now the game Will begin presently: I pray you tell me Which of you is the valiant Rosicleer,3 Dares breake his Launce on me. Tim. Marry that would I If I durst be so bold, mine is a stiffe one, And will pricke sorely. Clare. A fooles bable4 ist not? But come in briefe toth’ purpose: isityou [sic] Sir knight of the ill favored face, That would have me for your Dulcina? (sig. F3v )

159. Jonson, Benjamin, in Q. Horatius Flaccus: His Art of Poetry. Englished by Ben: Jonson. With Other Workes of the Author, Never Printed Before. STC 13798. UMI 1208:14 Among the works in this posthumously published volume is Ben Jonson’s “Execration Against Vulcan” (1623). The serio-comic touch of this 214-line poem both conveys and belies the scholar-writer’s serious loss not only of “twice-twelve-years” (line 101) of labor, but also of many books, some from his own library and some that had been lent to him by others. Jonson suggests ironically that Vulcan, the lame, envious, and vindictive “Lord of fire,” might have been more justified Had I compil’d from Amadis de Gaule Th’ Esplandians, Arthurs, Palmarins, and all The learned Library of Don Quixot, And so some goodlier Monster had begot. · · · · · · · Thou then hadst had some colour5 for thy flames, On such my serious follies. (pp. 32–3; sig. C4v –5r )

Fitzmaurice-Kelly observes that Jonson speaks of Don Quixote’s library “assuming that every reader would follow the allusion.” 6 And, of course, the 3

4 5 6

Rosicleer is a hero who turns up not only in the Espejo de príncipes y cavalleros of Diego Ortúñez de Calahorra (1532?) and its continuations by other writers, and in the translation by Margaret Tiler titled The First Part of the Mirrour of Princely Deedes (1578) and its continuations by “R. P.,” but also in Edmund Spenser’s Faerie Queene and, fleetingly, in Beaumont’s Knight of the Burning Pestle (1607). Bable: i.e. bauble, a short staff or mock-scepter of a court jester, here obviously meant to enhance the bawdry of the whole passage. Colour: justification. Fitzmaurice-Kelly, The Life of Miguel de Cervantes Saavedra (London: Chapman and Hall, 1892), 279.

1640

101

allusion would be even more meaningful for a reader who remembered that many of the romances in Don Quixote’s library also suffered the flames (DQ 1.6–7). Also found in The Works of Ben Jonson: J1006 (1692), p. 563. 160. Jonson, Benjamin, The Workes of Benjamin Jonson. STC 14753. UMI 756:2

For references to Don Quixote in The Alchemist and Epicoene, see STC 14755 (1612) and STC 14751 (1616); in this edition, the passages are found on pp. 493, 579. 161. Martin, Robert, Catalogue des diverses livres francoises [sic]. STC 17511.5. UMI 1856:32

A reminder of the strong French presence in English culture of the period, the London bookseller, Robert Martin, describing himself this time as situated “en la Rue nommé OLD-BAYLY,” offered many French volumes for sale here— including some that were translated from Spanish. Among the latter he listed three octavos by Cervantes—two from the Novelas ejemplares and one from Don Quixote: Les nouvelles de Miguel de Cervantes 8. (sig. C2r ) Le Valereux Don Quixote de la Manche 8. (sig. C4r ) Nouvelles morales en suitte de celles de Cervantes 8. (sig. D2r )

162. Martin, Robert, Catalogus librorum, plurimis linguis scriptorum. STC 17515. UMI 1456:2 Among works printed in Italian, Martin this time offered for sale in London: Don Chisciotte della Mancia [in octavo]. (sig. F3r )

163. Reynolds, John, The Triumphs of Gods Revenge. STC 20946. UMI 1640:11

For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of Don-Quixote (part 1) or The Travels of Persiles and Sigismunda: A Northern History, see STC 20943.3 (1622); in this edition, the passage is found on p. 101. 164. Webster, John, The Dutchesse of Malfy. A Tragedy. STC 25177. UMI 1191:13

For strong verbal echoes in the language of 3.1 (DQ 1.22) and 3.2 (DQ 1.28) and interesting parallels between a passage in 5.5 and DQ 1.21 and DQ 2.6, see STC 25176 (1623); in this edition, the passages are found on sigs. D4v , E2r , K4r . A variant imprint: STC 25177a (1641), same pagination (UMI 1718:10).

@

1641

#

165. Bartholomew Faire: or, Variety of Fancies Where You May Find a Faire of Wares and All to Please Your Mind. With the Severall Enormityes and Misdemeanours Which Are There Seene and Acted. B980. UMI (Thomason Tracts) 30:E.173[6] and UMI 255:E.173 [6]

In this anonymous tract, a “precise puritan,” freshly come to London from Lincoln, finds himself in a picture gallery in “Christ Church Cloysters” (i.e. Trinity Priory, Aldersgate). There he becomes incensed at the images and behaves like Don Quixote tilting at a windmill (DQ 1.8): [A]nd elevating the snow bals of his eyes, he presently espyes the picture of Christ and his twelve Apostles, with the virgin Mary, and many other Saints departed; at which sight the very thoughts and strong conceit of superstition set such a sharp edge upon the pure mettle of his inflam’d zeale, that very manfully like a man of valour, and son of mars [sic], he steps to a stall wel stor’d with two-peny halberts, and woodden backswords, where having arm’d himselfe Cap a Pea,1 (as he thought) he begins in a violent passion, to exclaime against the Idolatry of the times, that it was grown abominable; protesting that the whore of Babilon was crept into Christ Church, and that the good motions of the Spirit had brought him to towne, to make a sacrifice of those Idle Idolls, to his just anger and holy indignation, which begot no small laughter to the multitude, which throng’d about him, that put him into such a chafe, in so much that at the last, like Rosicleare, the Knight of the sunne, or Don Quixot, most furiously he makes an assault, and battery upon the poore innocent pictures, till the shopkeepers apprehending him had him before a Constable, who forthwith comitted my little hot furie to the stockes, where we will leave him to coole his heeles. (p. 4, Ist pagination)

Comic though the scene of the Puritan in the cloisters may be, September of 1641 brought Parliament’s order that all pictures of Jesus, God, or Mary should be “taken away and abolished.”2 166. Hall, Joseph, A Survay of That Foolish, Seditious, Scandalous, Prophane Libell, The Protestation Protested. H418. UMI (Thomason Tracts) 29:E.164 [8]

Hall (1574–1656), Bishop of Norwich, trained at Cambridge, is perhaps best remembered now for his Virgidemiarum (1597), which is a collection of verse satires, his prose satire Mundus alter et idem (1605), and his Characters of Vertues and Vices (1608), which introduced the Theophrastan character to England. During his lifetime, however, it is likely that Hall was best known as a 1 2

Cap a Pea: cap-a-pie; head to foot. J. P. Kenyon, The Stuart Constitution, 1603–1688 (Cambridge: Cambridge University Press, 1966), 225.

1641

103

defender of the Anglican Church, as an articulate mean between the threatening extremes of Roman Catholicism and radical Protestant nonconformity. In the Survay at hand he takes up the cudgel against Henry Burton (1578–1648), one of the most visible and extreme of nonconformist ministers of the day, a man who, along with John Bastwick and William Prynne, was sentenced in 1637 to perpetual imprisonment (which did not take place) and the removal of his ears (which did). Unrepentant and free again, Burton published The Protestation Protested (1641), wherein he attacks the Church of England and encourages the building of Independent congregations. Hall, rising up to condemn that stance and referring to particular sections of Burton’s work, brings Don Quixote into the argument: In your first and second, you make your posture, and take your ayme, in the third you let in the thrust against the Church of England; but with no lesse mistake, nor better successe, than when Don Quixot (one who for a head-piece, might have beene moderator to your dyet3 ) justed against the wind-mill, in stead of the inchanted castle. 4 At the first view, by the multiplying glasse of your purity, you can discry foure of the beasts heads, and informe us, that the Liturgie, discipline, government and ceremonies of the church of England are popish. (p. 7)

167. Skinner, Stephen, “Upon a Book Written by Mr. Stokes of the Art of Vaulting,” in William Stokes’s The Vaulting Master: or, The Art of Vaulting. S5727. UMI 2795:2 An Oxford man (Christ Church, B.A., 1640), Skinner (1623–1667) eventually took his M.D. in Heidelberg (1654) and was incorporated as an M.D. at Oxford that same year. In the comic commendatory poem at hand, he praises what proved to be a popular volume by William Stokes, who by means of it helped to bring still greater fame to his well-known school in Oxford known as the Bocardo. The latter was a sort of gentleman’s finishing school (pupils included Prince Charles, the future Charles II), and among the skills it taught was vaulting (the term refers specifically to leaping and generally to gymnastics). In a holiday mode here, the learned physician remembers Don Quixote’s famous steed, Rocinante: To you we owe (skill’d Sir) that we now see Endenniz’d 5 here the French agilitie: We may be eas’ly nimble now at home, Oxford being Mistrese to all Christendome, Nor need we take a leap to France, or ought Strive to be expert i’th’ venereall Vault, We shall not over-heat our selves so much, That we may straddling walk, or need a Crutch. 3 4 5

Dyet: way of thinking or living (OED). Hall is a little careless here: though Don Quixote might be perceived as jousting, his supposed foe was a giant, not a castle. Edenize: to make like Eden, to perfect (OED).

104

cervantes in seventeenth-century england This woodden Horse, 6 like Balaams learned Asse, 7 Can teach his Rider, yet not move a pace. Nor shall we mount leane Rozinante’s brood,8 Though he’s so dry he may be tane for wood. We cannot our dull Courser running set, Like the swift trav’lling Juggler, Pacolet. . . . 9

(sig. B1r )

Other editions: S5728 (1652), UMI 1558:5, sig. B1r –2r ; S5728A (1655). 168. Twisse, William, Of the Morality of the Fourth Commandement, as Still in Force to Binde Christians. T3422. UMI 371:2 Anthony à Wood, who reported that the controversial Puritan theologian William Twisse (1578?–1646) “was always hot-headed and restless,” nevertheless reported also that “The most learned men, even those of his adverse party, did confess that there was nothing extant, more accurate, exact, and full touching the Arminian controversies, than what was written by this our Author Twisse.”10 On the title page of the book at hand, Twisse quotes Exodus 20:8 (“Remember the Sabbath Day to keepe it holy”), and then in some 246 pages of text argues about the nature of the Sabbath. Early on in the book he recalls that one “John Barklay makes report, he had a consultation once” with John Calvin (1509–1564), the famed theologian and reformer (p. 32). Barclay (1582– 1621), a learned and moderate Roman Catholic now known best for his popular allegorical romance Argenis (1621), at some time apparently conversed with the great man about altering “the Lord’s day” from Sunday to Thursday, perhaps to set it apart from the Roman Church. Obviously piqued by such a suggestion, Twisse responded: Christian Religion keepeth a true morall Sabbath on the Lords Day; yet I willingly confesse, this is the usuall course of Papists now a dayes, not to call the Lords Day, so much as by the name of our Sabbath. As for Barklays discourse; he is much fitter to write something answerable to Don Quixot then to reason; we doe observe the Lords Day, as a Sabbath, not because God rested that day from the Creation; for our Doctor Andrewes11 . . . hath delivered it in the Starre Chamber, that It hath ever been the Churches Doctrine, that Christ made an end of all Sabbaths by his Sabbath in the Grave. (p. 186) 6 7 8 9

10

Horse: a “wooden figure of a horse employed for exercise in leaping” (OED). As the previous lines hint, the term vaulting house refers also to a brothel. Balaams learned Asse: according to Numbers 22:28–30, the Lord empowered Balaam’s ass to speak. Spanish rocín, it might be noted, means hack or jade and usually refers to some kind of working horse. Pacolet: in the romance of Valentine and Orson, the dwarf Pacolet has a magical wooden horse that can instantly carry him anywhere he wants to go. Skinner’s lines also call to mind the traveling that Don Quixote and Sancho undertake on a wooden horse while visiting the Duke and Duchess (DQ 2.40–1). 11 Athenæ Oxonienses, vol. 2 of 2 vols. (1692), col. 4. Lancelot Andrewes (1555–1626).

1641

105

169. Webster, John, The Dutchesse of Malfy. A Tragedy. STC 25177a. UMI 1718:10

For strong verbal echoes in the language of 3.1 (DQ 1.22) and 3.2 (DQ 1.28) and interesting parallels between a passage in 5.5 and DQ 1.21 and DQ 2.6, see STC 25176 (1623); in this edition, the passages are found on sigs. D4v , E2r , K4r .

@

1642

#

170. L., D., The Scots Scouts Discoveries. L11. UMI 1637:9 Sometimes disguised in “an Armenian habit” which he says “hath kept me freer from danger, then if I had been all clad in buffe” (sig. B2r ), the anonymous author describes himself as an “intelligencer.” Having traveled some and infiltrated England’s armed forces for a while, he now addresses “the Lords of the Covenant of Scotland,” reporting both what he has learned by himself and what has been passed on to him by fellow scouts regarding English affairs in 1639 (title page). This is the year of the so-called First Bishops’ War, and he reports “That most of the common soldiers in the [English] Camp, are such as care not who lose, so they get”; that, indeed, “they are the very scum of the kingdom” (p. 20). He cheerfully mocks the over-confident English for seeming to thinke it a won game, yet I see no miracle . . . ; only I observed a wonder, that is, to see their pride and patience have agreed so long together, expecting an end of this action. . . . I saw the Regiment of Gyants sent out of Yorkshire, under the command of Don Quixote, who threatens, that after they have carbonadoed the Scots like so many Capons, then Sancho Pancho his Page shall cut off their heads, and carrie them to the Prelates for a present; but the Enterprize will prove worse, then the Wind-mils was. (p. 21)

These last words assume that the reader will recall the thrashing Don Quixote receives in DQ 1.8, but in Scotland no such thrashing proved to be necessary. If D.L. has a particular individual in mind here for an English Don Quixote, it is probably Sir Henry Rich, first Earl of Holland (1590–1649). Under Holland’s inept command the English advance guard met the Scots near Kelso, but, overestimating the number of opponents, he and his men ended up fleeing. Thus the war concluded without any fighting, and on 18 June 1639 King Charles signed the Treaty of Berwick. That still left plenty of room, of course, for men to “differ about things of this world” (see Fig. 10). Another edition in 1642: L10 (UMI Thomason Tracts 27: E.153 [22]; and 252: E.153 [22]), p. 44, in which the spelling differs; i.e., “Don Quicksot” and “Sanco Panco.” 171. Taylor, John, Most Curious Mercurius Brittanicus, Alias, Sathanicus, Answer’d, Cuff ’d, Cudgell’d, and Clapper-claude. T483b. UMI 1160:11 (date is uncertain)

In a satire against James Hudson, a news pamphlet writer, the prolific Taylor calls his utterances “Quixotticall”:

1642

107

10. Though united in their opposition to Anglicanism and Charles I, the picture on this seventeenth-century playing card suggests that there was still something significant to “differ about” when English Independents (comprised of various religious sects, notably Baptists and Congregationalists) met with Scottish Covenanters (subscribers to the Solemn League and Covenant). Having suffered some defeats at the hands of royalists, the Independents allied themselves with the Scots in order to gain their military support, and in return the English Independents were to preserve the Church of Scotland, reform the Church of England along Presbyterian lines, and pay the Scots £30,000 a month.

108

cervantes in seventeenth-century england

Brittanicus, have at thee, look to thy selfe . . . and let it not make thee proud, that I am pleased to descend so low as to write either to thee or of thee. Your Prophetick writings, (with Bookers conjunction) and delicate foysted Declarations, and Relations (being all Nothings) of their worthy Orders, Acts, and Votes, with their Don Quixotticall, Amadis de Galldicall Battles and Ayery Victories, which being with judgement and discretion weighed and considerd are Nothing, nor ever will be anything to any purpose. (p. 1)

Thus John Booker (1603–1667), a professional astrologer of the time, is tarred along with Hudson. And thus also is Don Quixote paired with his favorite chivalric model, Amadis. 172. Taylor, John, A Swarme of Sectaries, and Schismatiques: Wherein Is Discovered the Strange Preaching (or Prating) of Such as Are by Their Trades Coblers, Tinkers, Pedlers, Weavers, Sowgelders, and Chymney-sweepers. T514. UMI (Thomason Tracts) 28:253. E.158 (1) A remarkably literate Thames waterman, John Taylor (1580?–1654) created a basically convivial and jocular persona in his writings, even sometimes when he took on serious topics, particularly in the latter part of his long career. In the 1640s, as Bernard Capp writes: [Taylor] poured out a flood of polemical pamphlets, some of them appearing anonymously, defending the episcopal church, lamenting that the prayer book was being abandoned in parish worship, and ridiculing the radicals. A Swarme of Sectaries (1641) sparked a ferocious and obscene pamphlet war . . . which continued into 1642.1

In the final lines of Taylor’s Swarme, after scorning a young man who asked a bookseller for “The Epistles of Saint Ovid” and jeering at “One Mapleton” of Reading who punished his sinful flesh by cutting and leaving only a “stumpe” of his “pissing pump,” the waterman prays that “All windmills, and vagaries of the brain | Would from unquiet England banish’d be” (p. 21). No one can be sure, but Taylor over the years alluded to Don Quixote so frequently that here, by conjoining windmills and brain disorders, he was very likely inviting readers to remember the barmy Spanish knight.

1

Capp, Oxford DNB, 53:930–5.

@

1643

#

173. Bludder, Thomas, An Inventory of Goods & Chattell of Sr Thomas Bludder Delinquent Sequestred by the Committee Appoynted by Ordnaunce of Parliament. BL Add. MSS, 28, 191, A–D A well-to-do farmer of sea-coal, Sir Thomas Bludder (d. 1655) of Surrey was knighted at Whitehall in 1618 and eventually became a Gentleman of the Privy Chamber and an M.P. In the spring of 1643, however, he was “disabled” by the Long Parliament. The official inventory of his possessions as of 9 June 1643 comes down to us on a long, narrow roll of paper that lists not only house furnishings (cradles, draperies, tapestries, pictures) but also books—some of them being the books of his stepson, John Bill the younger, and a Mr. Marshall who lived upstairs. Young Bill, a minor at the time, was the son of Bludder’s wife and John Bill the elder, formerly the King’s Printer. Of greatest interest here is the portion of the inventory that lists “The Loose Bookes in the Truncke between Mr Bills Chamber & Mr Marshall at the upper staire head.” Here, among an unusually large number of Spanish titles recorded when the list-makers were growing weary (the third-from-last entry is “29 More Spanish Bookes”) is the bare-bones entry “Nouelles Exemplares.” Conceivably this refers to the Novelas ejemplares y amorosas (1637) of María de Zayas y Sotomayor, but more likely it records the presence in Bludder’s home of an edition of Cervantes’s Novelas ejemplares.1 174. Canne, Abednego, A New Wind-Mil. N797. UMI (Thomason Tracts) 43: E.249 [21]

This work is a mocking diatribe against the use of windmills because the arms of the mills form a cross. Taking the position that such usage of a cross is an abomination, the author notes the reverence of the Jesuit martyr Edmund Campion (1540–1581), then suggests that all right-thinking people should follow the example of Don Quixote and attack windmills: And if the Jesuit Campian uncovered his head when he passed by Tiburne (as his story tels us) the structure whereof is only composed of three crosse beams without any formall arrectary;2 how would he much more have vailed3 to so perfect a resemblance of that which is entertained with all idolatrous adoration? And if we breake down sorry halfe-headed crosselets in our Churchyards, and high-waies, for fear of the worst: With what courage should we (with the valiant and zealous Don Quixote) set upon these Giantly champions of superstition? (p. 5) 1 2 3

The information in this entry is drawn largely from John L. Lievsay and Richard B. Davis, “A Cavalier Library—1643,” Studies in Bibliography 6 (1954): 141–60. Arrectary: “An upright post or beam” (OED). Vailed : “doffed or taken off in salutation” (OED).

@

1644

#

175. Awdley, John, An Inventory of Goods and Chattells of John Awdley. No. BRS/39 (M 25), Kingston upon Hull City Record Office.1 Apparently the bookseller John Awdley arrived in the small town of Hull, just north of the Humber, in 1631. The stated reason for inventorying his stock in February, 1644, was “that he is gone out of the town [and] is not now to be found” (p. 126). Possibly he had gone off to war. In any case, the mayor and burgesses of Hull decided to sue him and therefore requested the attachment of his goods. Awdley’s stock, predictably heavy in theology, included many schoolbooks but only a single play (Fletcher’s Rule a Wife and Have a Wife). Although his wares were generally geared more toward readers of English than were most book lists of the day, no. 15—between Ferdinando Pulton’s De pace regis et regni and Antono de Guevara’s Diall of Princes—is Cervantes’s “Exemplary Novells” (i.e. James Mabbe’s 1640 translation of the Novelas ejemplares), valued at 6 shillings. 176. Cleveland, John, The Character of a London-Diurnal. C4659. UMI 1148:5

Cleveland (1613–1658), a notable scholar and cavalier poet (whom the parliamentary visitors would eject in 1645 from his position as Fellow and Tutor at St. John’s Cambridge), implies here that the writers of diurnal news pamphlets are as mad as Don Quixote. Cleveland alludes to Don Quixote, 1.8: Thus the Quixotes of this Age fight with the Wind-mills of their owne heads; quell Monsters of their owne Creation, make Plots and then discover2 them; as who fitter to unkennell the Fox, then the Taryer [i.e., terrier], that is a part of him. (p. 3)

Other editions in 1644: C4660 (UMI 1148:44), p. 3; C4661, p. 3; Also found in The Character of a London-Diurnall: With Several Select Poems: C4662 (1647), p. 3; C4663 (1647), p. 3; C4663aA (1647); C4663A (1647), p. 3; C4663B (1647), p. 3; C4664 (1647), p. 3; C4665 (1647), a ghost; C4666 (1647), p. 3. Also found in Cleveland’s Poems: C4686 (1651), p. 68; C4688 (1653); C4689 (1653), p. 90; C4689A (1654), p. 90; C4690 (1654), p. 90; C4691 (1656), p. 90; 1 2

All of the information in this entry is drawn from C. W. Chilton, “The Inventory of a Provincial Bookseller’s Stock of 1644,” Library, ser. 6, 1 (1979): 126–43. Discover: i.e., reveal.

1644

111

C4692 (1657), p. 90; C4692A (1658), p. 83; C4693 (1658), p. 87; C4694 (1659), p. 183; C4695 (1661), p. 182; C4696 (1662); C4697 (1665), p. 183; C4698 (1669), p. 183; C4697 (1655), p. 183. Also found in Clevelandi vindiciæ: C4669 (1677), p. 112; C4670 (1677), p. 112; C4671 (1677), p. 112. Also found in Cleveland’s Works: C4654 (1687), p. 86; C4655 (1699), p. 86. 177. Taylor, John, Crop-Eare Curried: or, Tom Nash His Ghost. T446. UMI (Thomason Tracts) 45: E.269 [24]

Taylor here applies the nickname “Crop-ear” to William Prynne (1600–1669), an outspoken and indefatigable Puritan, because Prynne had been punished in part by having his ears cut off in 1634—and then been sentenced again in 1637 to lose whatever remained of them. In a section of this work titled “William Prinnes, Opening of His New Great Seale of England,” Taylor situates Don Quixote in a gathering of literary heroes: If I had had any correspondency with him [i.e. Prynne], I could have furnished him, with Authours, Testimonies, Witnesses, and Proofes more suitable for his foure Parts, and his Great Seale too, as Lazarillo de Tormes, Don Quixot, Gusman de Alfarech, Bevis of Hampton, The mirrour of Knighthood, John Dorry,3 the ancient Bards, Druides, Peripatetickes, Stoickes, Epicureans, and Gymnosophists: these learned Thebanes 4 would have been so suitable to his writings, that their authentique Assertions had like a Torrent over-whelmed me. (p. 36)

178. Twyne, Brian, Brian Twyne’s Library. Library of Corpus Christi College, Oxford5 The library of Brian Twyne (1581–1644) was built up over the years by various members of his family—especially by his grandfather, John Twyne, a notable antiquarian. Brian himself (B.A., Corpus Christi, 1599; M.A., 1603; and B.D., 1610) became an antiquarian scholar: while still a relatively young man, he published his Antiquitatis academiæ oxoniensis apologia (1608). In 1614 he was made Reader in Greek at Corpus Christi, and in 1634 he became Keeper of the University Archives, a post that he held for the rest of his life. Ovenell warns against and yet cites Anthony à Wood’s description of Twyne as “an honest plain man, one rather industrious than judicious (notwithstanding well skilled in the Mathematicks), cynical than facetious, morose than pleasaunt, clownish than courteous, close than communicative” (p. 11). 3

4 5

The ballad of John Dory appeared first in print in 1609 (“Iohn Dory bought him an ambling Nag, | to Paris for to ride in”). Claude Simpson surmises that it “must have had wide currency during the seventeenth century, for frequent allusions treat it as a familiar or even a hackneyed subject.” See Simpson’s The British Broadside Ballad and Its Music (New Brunswick, NJ: Rutgers University Press, 1966), 398–9. Conceivably Taylor’s effort to convey madness here was aided by his recollection of Lear’s epithet for Mad Tom: “I’ll talk a word with this same learned Theban” (Shakespeare, King Lear, 3.4.157). The information in this entry is based on R. F. Ovenell’s Brian Twyne’s Library, Oxford Bibliographical Society Publications, ns 4 (Oxford: Oxford University Press, 1952).

112

cervantes in seventeenth-century england

It is impossible now to acquire a full sense of Twyne’s library (one cannot guess how much of it was removed before the present list was made), but serving to leaven the scholarly whole that remains there is some more or less light reading in English (Breton, Greene, and Nashe from the sixteenth century and, from the seventeenth, Jonson, Dekker, and Burton). The sole volume of more or less light reading that was foreign in origin, however, was a 1608 Madrid quarto of Cervantes’s famous work, recorded simply as: “El ingenioso Hidalgo don Quixote de la Mancha.”

@

1645

#

179. A Character of the New Oxford Libeller, in Answer to His Character of [a] London Diurnall. C2026 Responding to John Cleveland’s Character of a London-Diurnal (1644, q.v.), the author writes that Cleveland is as dotty as Don Quixote (DQ 1.8): He would take it in foule scorne (though this puissant1 Knights errantry never knew other career, then that which lies between a prison and an Alehouse) that you should celebrate him by the name of Don Quixot, or say, he hath a windmill in his head. (p. 3; sig. A3r )

180. Gower, John, The Cow-Ragious Castle-Combat. G1460. UMI (Thomason Tracts) 47: E.284 [3]

For a reference in which Gower refers to Don Quixote as “that victorious Knight of Spaine,” see Pyrgomachia, vel potius pygomachia: or in Cleane English, The Castle-Combat, STC 1241 (1635); in this edition, the passage is found on sig. B4r . 181. Quarles, Francis, The Profest Royalist His Quarrell with the Times Maintained in Three Tracts. Q113. UMI 224:4 Best known now for his skill as the writer of emblems in verse, Francis Quarles (1592–1644) in this posthumous publication was also the author of (among other things) three works in prose on some of the troubles of his time. In the second tract, titled The New Distemper, he creates a phrase including “windmill” that is unlikely to have come to mind without his confidence that readers would be familiar with the windmill chapter, the most famous of all encapsulations of folly in Don Quixote (DQ 1.8). Quarles writes: We are so far from disliking Bishops, that where there is one, we desire there were twenty; nay that every Church in England and Ireland had a severall Bishop; Diocesan Bishops we dislike, Parochiall we allow. How suddenly (to crosse a settled and warranted establishment) your windmill fancies can make an alteration. Titus, c . 1.5 had a command from S. Paul to ordain Elders in every City, (which he interprets Bishops) not in every Church, or Parish; which Ordinance, the Church of England hath punctually observed from the Primitive times to this day. (p. 9)

Also found in: The New Distemper (1645), Q110, p. 9. 1

puissant: mighty, powerful.

114

cervantes in seventeenth-century england

182. Waller, Edmund, Poems, &c. W511. UMI 929:2 and UMI 1079:4 (as W512)

One of the best-known poets of his day, Waller (1606–1687) was also long embroiled in politics. Having involved himself in a conspiracy to reclaim London for Charles I, he was banished in 1644, fled to Paris, published his Poems in 1645 (including the poem cited here), and in 1651 was allowed to return to England. In his verses “To the Mutable Fair” (as Becker notes in Aufnahme, 43), Waller refers to Don Quixote’s fight with a windmill (DQ 1.8): Here Cælia for thy sake I part With all that grew so near my heart: · · · · · Fool that I was so much to prize Those simple virtues you despise, Fool that with such dull arrows strove, Or hop’d to reach a flying Dove; For you that are in motion still, Decline our force, and mock our skill. Who like Don Quixot do advance Against a Wind-mill our vain Launce.

(p. 65)

Other editions in 1645: W512, p. 65; W513 (UMI 1079:5), pp. 119–20; Other editions: W514 (1664), p. 128; W515 (1668), p. 128; W516 (1682), p. 128; W517 (1686), p. 128; W518 (1693), p. 128; W519 (1694), p. 128; W520 (1694), a ghost. Also found in Waller’s Workes (1645): W495 (UMI 300:4), p. 65. Not found in The Second Part of Mr. Waller’s Poems, W521 (1690). Also found in Francis Beaumont’s Poems: B1602 (1653), sig. F6v ; B1603 (1653), sig. F6v ; B1604 (1660), sig. F6v .

@

1646

#

183. Belcamp, Jan van (attributed), The Clifford “Great Picture” One of the more remarkable paintings produced in England during the seventeenth century is an enormous triptych commissioned in 1646 by Lady Anne Clifford (1590–1676), Countess of Dorset, Pembroke, and Montgomery.1 In this work the painter—usually taken to be Jan van Belcamp—has taken pains to pack in a multitude of details commemorating Lady Anne’s life and noble heritage. In the central panel, which is about 10 feet wide (all three panels are about 9 feet high), stand Lady Anne’s father and mother: George Clifford (1558– 1605), third Earl of Cumberland, a prominent naval commander and favorite at Elizabeth’s court, and Margaret Russell Clifford (1560–1616), Countess of Cumberland. To their left stand two young boys, Lady Anne’s brothers, Robert and Francis, both of whom died young. The panel to the right depicts Lady Anne herself in later years, apparently as she looked at the time of commissioning the picture, and the panel to the left depicts her at about the age of 15. In this left panel her left hand rests lightly on a book of music which in turn lies on a piece of her embroidery on a small table, against which leans her lute and above which, fixed to the wall, is her coat of arms. Lady Anne gazes soberly out toward the onlooker, while on the wall behind her and above her head are two bookshelves. Above the uppermost of the latter are two small portraits, one depicting her governess, Anne Taylor, and the other her tutor, the poet and historian Samuel Daniel (1562–1619). Perhaps best known now for his sonnet sequence Delia, Daniel was a committed man of letters who over the years tried such varied literary forms as the prose Defence of Ryme, masques such as The Queenes Arcadia and Hymens Triumph, plays such as Cleopatra and Philotas, and, probably most notably of all, The Civile Warres, a verse epic on the Wars of the Roses. It is the books pictured on the shelves, however, some of which were presumably studied by Daniel and his young charge, that occasion notice here of Lady Anne’s triptych. Among these volumes, in addition to the Bible, are such works as Ovid’s Metamorphoses and Augustine’s City of God, Camden’s Britannia and Sidney’s Arcadia. And among the foreign moderns are Castiglione, Tasso, Montaigne, and Cervantes—more specifically, Cervantes’s Don Quixote. 1

Known as “The Great Picture” and held by the Abbot Hall Art Gallery, Kendal, Cumbria, this triptych has been reproduced in Art and Patronage in the Caroline Courts, a collection of essays by various hands edited by David Howarth (Cambridge: Cambridge University Press, 1993), 203; and in Richard T. Spence, Lady Anne Clifford Countess of Pembroke, Dorset and Montgomery (Frome, Somerset: Sutton Publishing, 1997), frontispiece and 16, 112.

116

cervantes in seventeenth-century england

In all three parts of the triptych the painter and doubtless Lady Anne herself have elected to ignore strict chronological accuracy in favor of implied meanings. The facts are that Daniel was Lady Anne’s tutor only until she was 12, and she would have been about 15 when Cervantes first published his masterwork and 22 when Shelton put forth his translation of its first part. Nevertheless, in this portrait painted about 1646 and generally harking back to Lady Anne’s girlhood, we have striking ocular proof of a mature seventeenthcentury Englishwoman’s remembrance of the relevance of Cervantes in her formative years. 184. Clarke, John, Paromiologia Anglo-Latina in usum scholarum concinnata: or, Proverbs English, and Latine. C4472A. UMI 2605:14 For a proverb that appears to echo a line in Don Quixote, 1.8, see STC 5360 (1639); in this reissue with a new imprint pasted onto the title page, the passage is found on p. 158. 185. Lluelyn, Martin, Men-Miracles. With Other Poems. L2625. UMI 606:4; (Thomason Tracts) 251: E.1163 (1)

A poet and scholar (Christ Church, Oxford, M.A. 1643) and eventually a physician, school principal, and mayor of High Wycomb, Lluelyn (1616–1682) praises here a lady of Oxford for the qualities of her mind. In a poem titled “To My Lady Ch.,” he notes in particular that she does not read light works such as Don Quixote, and alludes to Don Quixote’s encounter with a windmill (DQ 1.8): And now we climbe two stories height to see How large Art proves in her Epitome. A Closet where no fucus 2 comes, no Paint, To daube a Fury, and create a Saint. No bought Complexion there, no such sage Plot, As where the good face lies i’th Gally Pot.3 Bookes are the Objects there, and yet none ly Like famous Palmerin, or stout Sir Guy. No douty Don Quixote, like those that fight, With Warlike Wind mill, and then rise up Knight. The Bookes are pious, and their owners are Themselves professors, Beauties of the Chaire.

(p. 84)

Other editions: L2626 (1656), p. 64; L2627 (1679), p. 64. 2 3

Fucus: though the noun fucus nowadays refers to a brown algae, in the seventeenth century it referred to a cosmetic for the skin, especially the face. Gally Pot: gallipot, a small jar for cosmetics or medicines.

1646

117

186. Taylor, John, (under pseud. “Antho: Roily, Student in the Mathemagicks”), A Briefe Relation. T434A. UMI 1160:9 Miles Corbet (1595–1662) of Norfolk would eventually be most memorable as a member of the Long Parliament and the last man to sign the death warrant of Charles I—and consequently, during the reign of Charles II, he would become one of the regicides who were hanged, drawn, and quartered. In 1646, however, the prolific John Taylor, using the pseudonym “Antho: Roily,” wrote about him here in A Briefe Relation, acknowledging in his title that Corbet was a “Councellor at Law, re[c]order and burgesse for Great Yarmouth”—and a fool. After a mock invocation, the rhymester announces his topic, “the Gleanings of the Idiotismes and Absurdities of Miles Corbet, Esquire”: “The man I meane to write of is a Theame | That flowes upon me, like a flowing streame. | Not Thames in England, or faire Seine in France | Were ever greater Flouds of Ignorance.” In Idiotisme no. 6 Taylor relates how Corbet and his man Nocky, out checking on unlicensed alehouses, became drunk and “fell into a sandhole in Yarmouth Deanes.”4 And these two hapless objects of ridicule he likens to Don Quixote and Sancho: With neither lyes or fables here I mock ye; Miles Corbet and squire, (sweet Tony Nockey) Road [sic] like knights errant to make inquisition And find unlicenc’d Ale-houses condition; Like Spains black Knight, (Don John de fisty kanco)5 Or valiant Don Quixot, and Sancho Pancho, Adventerously they put their feet in stirrops To punish Victlers 6 and to taste their Sirrops.

4 5

6

(p. 9)

Deanes: vales or valleys. The “Black Knight” is at least in part a backward glance at Middleton’s A Game of Chesse (1624). There the Black Knight is a scarcely disguised satirical depiction of Spain’s ambassador to England, Don Diego Sarmiento de Acuña, Count of Gondomar: he is referred to as “Yonder Black Knight, the Fistula of Europe” (2.2.48 in A Game of Chesse, ed. R. C. Bald [Cambridge: Cambridge University Press, 1929], 72). More specifically, Taylor’s phrase “de fisty kanco” alludes to the fact that the Black Knight was “seated on his chair with a hole in it” in order to accommodate his fistula (quoted by Bentley, Jacobean and Caroline Stage, 4:871). See Fig. 5, p. 28. Victlers: an obsolete form of “victuallers.”

@

1647

#

187. Beaumont, Francis, John Fletcher, and others, Comedies and Tragedies. B1581. UMI 306:1 Comedies and Tragedies is a folio containing some thirty-six dramatic works. Though it involves the contributions of a number of playwrights, it is known particularly for its plays by Francis Beaumont (1584–1616) and John Fletcher (1579–1625). Published by the stationer Humphrey Moseley long after the deaths of Beaumont and Fletcher, it was dedicated to Philip, Earl of Pembroke and Montgomery, whose family is praised for having “encouraged the legitimate Muses of this latter Age” (sig. A2r ). Some five years after England’s strife had occasioned the closing of the theaters, this volume was put forth not only with the approval of ten men of the theater but also with a quantity of dedicatory verse so extraordinary as to be itself a comment on the times. In some dedicatory prose the playwright James Shirley refers not only to “this silence of the Stage” but also to “this Tragical Age when the Theater hath been so much out-acted” (sig. A3v ). All told, the body of plays brought together in Comedies and Tragedies has ties not only to Cervantes’s Don Quixote and his late romance, Persiles y Sigismunda, but also to three of the shorter narratives in his Novelas ejemplares: La Señora Cornelia, La ilustre fregona, and Las dos doncellas. The Custome of the Country, the fourth work in the volume, is a play by Fletcher and Philip Massinger. According to R. Warwick Bond (1:480–1), it was apparently Felix Liebrecht who first observed in the 1851 notes to his German translation of John Dunlop’s History of Fiction (1814 et seq.) that The Custom of the Country is indirectly but deeply indebted to Cervantes’s Los Trabajos de Persiles y Sigismunda. Cervantes’s final work, Persiles y Sigismunda, is an extended Heliodoran romance that was published posthumously in Madrid in 1617. More particularly, Bond demonstrates that the dramatists turned to The Travels of Persiles and Sigismunda, STC 4918 (1619), an English translation of the work, put forth by Matthew Lownes. Reasonably faithful though this version may be, it was based not on the Spanish original but the 1618 Travaux de Persiles et de Sigismonde by Vital D’Audiguier (Randall, Golden Tapestry, 102). Persiles and Sigismunda basically depicts a quest for spiritual and moral values that will enable the titular lovers to attain an ideal marriage. The narration of this pursuit, like that in Don Quixote, is interwoven with interpolated stories, two of which were borrowed by Fletcher and Massinger. The otherwise obscure title of the play, in fact, is based on the custom of deflowering (i.e., the droit de seigneur) introduced in the inset story of Transilla and Ladislas. All told, as Joan F. McMurray points out, thirteen of the fourteen characters in the play have some similarity with figures in Cervantes’s narrative (“Fletcher

1647

119

and His Sources,” 192). Knowles even notes “some loose parallels in dialogue” (“Cervantes and English Literatures,” 282). The Coxcomb, presumably the work of both Beaumont and Fletcher, is the eighth play in the folio. Its earliest date is difficult to ascertain, but scholars in the field suggest 1608–10, partly on the grounds that in 1610 Ben Jonson almost surely referred to the play in The Alchemist (4.7; q.v. supra). Furthermore, he did so in connection with Don Quixote. Of course this was a couple of years before Thomas Shelton’s translation was published in London, but there is some reason to think Shelton’s work had a certain circulation before it was available in print. And even if Shelton was not in the offing, the French translation by Jean Baudoin of Cervantes’s El curioso impertinente was available, and this story, embedded in Don Quixote, 1.33–5, may be paired at least cautiously with Beaumont and Fletcher’s comedy. In any case, silly Antonio, the titular figure in The Coxcomb, is a bona fide fool. The term “coxcomb,” which was derived originally from a rooster’s serrated comb, had long since come to refer to the rooster-like headgear often worn by professional fools, and Beaumont and Fletcher’s Antonio is a very foolish husband, indeed. He insists repeatedly that his best friend, Mercury, court his wife, thus creating a triangulated situation that is very similar to that in El curioso impertinente (DQ 1.33–5). “I Cannot sleep for thinking of this Asses wife,” says Mercury to himself. “You shall enjoy my wife,” Antonio insists (2.1; pp. 101–2). And later, alone onstage, Mercury rues the day. Scholars disagree as to how, why, and whether or not some version of Cervantes’s El curioso impertinente really lies in the background of The Coxcomb, but Ben Jonson, for one, appears to have thought there was some connection between the two. The Chances (c.1617?), a satirical comedy by Fletcher, the tenth play in this edition, takes its plot, characters, and setting from La Señora Cornelia. Langbaine first recorded this borrowing in 1691 (An Account of the English Dramatick Poets, 207–8). Since Cervantes’s story was available also in D’Audiguier’s French translation of 1615 and since Fletcher often turned to translations, Bentley thinks it likely that he did so here (Jacobean and Caroline Stage, 3:321). On the other hand, “Edward M. Wilson has noted . . . two minor and almost negligible instances in The Chances which may indicate that he at least consulted the Spanish version” (ibid. 3:321). Whatever Fletcher’s immediate source or sources, McMurray observes that Fletcher turned to Cervantes for no fewer than twenty-four of his twenty-six scenes and nine of his characters. In fact, she writes, he borrowed from Cervantes the ordering of the events in his plot (“Fletcher and His Sources,” 106–7). Despite even this level of borrowing, she adds, Fletcher was quite inventive: [H]is models in Cervantes undergo . . . drastic changes and in some instances are made to conform to popular stage figures; the comic episode and the pageants in the source are converted into bawdy comedy and masques; the country setting

120

cervantes in seventeenth-century england

is changed to a street scene in the city; and the episodes which derive from uninterrupted sequences are broken into short scenes often separated from each other by other action. (Ibid. 102–3)

See also F1338 (1682), F1339 (1692). The Prophetess (by Fletcher and Massinger), licensed 14 May 1622, is the eighteenth play in this collection. It was listed by Koeppel as a work indebted to Cervantes (“Don Quijote, Sancho Panza und Dulcinea,” 91). More particularly, Koeppel (and before him Moriz Rapp) had in mind the creation of Geta, a clownish servant reminiscent of Sancho Panza. When his master, the soldier Diocles, bids him “think of what thou shalt be when I am Emperor” in 1.3, Geta replies: “Would it would come with thinking: | for then o’ my conscience, | I should be at least a Senator” (p. 26). And when Diocles’s nephew, Maximinian, wonders how “such a log-carrying Lowt” might hope for honor, Geta replies, “I am not the first Asse, Sir, | has born good Office, & perform’d it reverendly” (p. 26). When he becomes emperor (2.3), Diocles decides he will keep the name he has borne as a private man, only adding “two short syllables” so that it becomes Dioclesianus (which addition is presumably pronounceable as two syllables). Thereupon Geta decides that when he, in turn, becomes a senator, he “will be no more plain Geta, but be call’d | Lord Getianus” (p. 32). Like Sancho listening to the petitioners approaching him in his capacity as Governor of Barataria, Geta—who in mid-play is termed by the prophetess of the title a “fool and knave grown a grave Officer” (3.1; p. 33)—also must deal with suitors and their requests. As he informs a cluster of rural folk toward the close of the play (5.2): “’Tis true, I have been a Rascall, as you are, | a fellow of no mention, nor no mark, | just such another piece of durt, so fashion’d: | But Time, that purifies all things of merit, | has set another stamp” (p. 44). Because of Fletcher’s knowledge and use of Don Quixote elsewhere, the Sancho–Geta linkage, sketchy as it is, seems probable. See also B1605 (1690). The Fair Maid of the Inn: A Tragi-Comedy, first acted on 22 January 1626 at Blackfriars, is the thirty-second play in this collection. Its authorship is especially murky. Cyrus Hoy, for instance, suggests that John Ford, Philip Massinger, and John Webster—the latter being the major writer—completed the play after Fletcher’s death.1 Whoever wrote it, however, The Fair Maid has both an underplot and certain situations in its main plot that at least arguably may derive from Cervantes’s La ilustre fregona. McMurray goes so far as to suggest that as many as ten characters in the play “could be modeled after Cervantes’s romantic figures” (“Fletcher and His Sources,” 246). Bentley, on 1

Hoy, “The Shares of Fletcher and His Collaborators in the Beaumont and Fletcher Canon (V),” Studies in Bibliography (Charlottesville, VA: Bibliographical Society of the University of Virginia, 1960), 102.

1647

121

the other hand, apparently sides in the matter with Baldwin Maxwell, whom he cites as saying that “this tale if used at all could have suggested a few points in one of the subplots, no more” (Jacobean and Caroline Stage, 3:339).2 A murky situation is made murkier still because an anonymous Spanish comedy titled La ilustre fregona (1619), based on Cervantes’s story, presumably could have factored somehow in the creation of the work.3 Love’s Pilgrimage (1616?), by Fletcher (perhaps with Beaumont and passages from Jonson), is the thirty-third play in this volume. Of this comedy, Bentley says: “The source of the play, as Langbaine noted [1691], is Cervantes’s story, Las dos doncellas, in his Novelas ejemplares, which received its final allowance for publication in August 1613, but was not published in the French translation [of François de Rosset and Vital D’Audiguier], which Fletcher seems to have used, until 1615” (Jacobean and Caroline Stage, 3:367).4 Though influences and borrowings are difficult to trace, Love’s Pilgrimage clearly takes both its main plot and its underplot, as well as its characters, setting, and even scenes and speeches from its Spanish source. McMurray goes so far as to discuss Love’s Pilgrimage as an adaptation. On the other hand, she observes also that Fletcher in adapting the Cervantes “material for comedy consistently reduces the moral and philosophical values of his models to social attitudes and personal eccentricities.” In Love’s Pilgrimage, she writes “Chastity is a social rather than a moral value” (“Fletcher and His Sources,” 26). The Pilgrim (1621?) by Fletcher is the twenty-second play in the volume, and, as Fleay notes (Biograpical Chronicle, 1:215), it is indebted to the opening chapter of the second part of Don Quixote. During a conversation with the priest and the barber, Don Quixote at first speaks so sensibly as to appear cured of his chivalric illusions. When the priest mentions recent news of threats from the Turks, however, Don Quixote is quick to observe that a handful of knights-errant—of which he numbers one—might set all to rights. The barber is moved thereby to tell a brief story about a madman in Seville who wrote to the archbishop, beseeching him to be set free. When the chaplain who was sent by the archbishop to investigate found that the man (a university graduate in canon law) both acted and spoke very well, he was moved, despite the keeper’s warnings, to have him released. The release was about to be accomplished when the madman suddenly became involved in a verbal fight with one of his fellow inmates and vowed that he himself was Neptune, god of water, who could prevent droughts. 2 3 4

See also Baldwin Maxwell, Studies in Beaumount, Fletcher, and Massinger (Chapel Hill: University of North Carolina Press, 1939). Emilio Cotarelo y Mori, ed., Obras de Lope de Vega, vol. 6 (Madrid: Real Academia Española, 1928), p. xxiii. The first six stories were translated by Rosset, the latter six by D’Audiguier, and both were published in Les Nouvelles de Miguel de Cervantes Saavedra.

122

cervantes in seventeenth-century england

In Fletcher’s play, which takes place in Segovia and thereabouts, the scene in question is set in a madhouse. Stephano, a mad scholar, is about to be freed as a result of his plea to the cardinal, who has sent two gentlemen investigators to confirm the man’s sanity before securing his release. The visitors are much impressed (“A civiler discourser I neer talk’d with”) until the conversation turns to the current stormy weather, especially at sea, and the young man, his mien much altered, proclaims himself to be Neptune. When the cardinal’s gentlemen leave, the master of the madhouse observes: “Many have sworn him right, and I have thought so: | Yet on a sudden, from some word, or other, | When no man could expect a fit, he has flown out” (sig. Hhhh2r ). A much augmented and revised edition of The Pilgrim was published in 1700 (F1348) with this scene pretty much intact. Another edition: Fifty Comedies and Tragedies, B1582 (1679), augmented. 188. Booth, Robert, A True and P[er]fecte Inventory of Al the Goods and Chattels of Robt. Booth Late of Warrington: Prized the Fifte of February Año dom. 1647.5 A stationer in the small market town of Warrington in the county of Lancaster, Robert Booth (d. 1648) stocked a large collection of books in addition to “Copie paper,” “Blew paper books,” “Ruled paper,” “ink-horns,” “Spectacles [of ] Cristall” (eight), and “Spectacle cases” (three dozen). All told, the inventory of his holdings indicates that Booth had about 1,280 volumes for sale. There were 110 bibles of various sorts and many educational works (including “16 dozin & two plaine horne bookes” and six and a half dozen “Gramers”). Aside from a few books by now-well-known English writers (Francis Bacon, Francis Quarles, Thomas Browne), Booth’s non-biblical stock was heavily oriented toward the Romans. Only slightly leavened with modern fiction (such as Guy of Warwick, Lyly’s Euphues and His England, Barclay’s Argenis), it nevertheless did include Cervantes. Preceded in the inventory of Booth’s stock by “1 Childrens Dixionary” and followed by “1 Dicas on Scandall” is the entry “1 Don quixot . . . . . . . . . 0 1 0” (p. 110). It turns out that the translation of Cervantes was valued slightly less than the child’s dictionary, but the same as The Mischiefe and Miserie of Scandals Both Taken, and Given (1631) by the Essex minister Jeremiah Dyke. 189. Cleveland, John, The Character of a Country Committee-man, with the Eare-marke of a Sequestrator. C4656. UMI (Thomason Tracts) 79: E.571 [5]

Cleveland here attacks the relatively low-level functionaries who, according to Parliament’s Sequestration Ordinance of 1643, were empowered to raise money 5

Transcribed by W. Harry Rylands in “Booksellers and Stationers in Warrington, 1639 to 1657, with the Full List of the Contents of a Stationer’s Shop There in 1647,” Transactions of the Historic Society of Lancashire and Cheshire 37 (1888): 67–115. All quotations here are from the list itself.

1647

123

for war needs by seizing the estates of royalists and other “delinquents.” In the particular passage cited here (as Becker notes, Aufnahme, 43), Cleveland refers to Don Quixote’s promise to purchase the governorship of an island for Sancho Panza—a subject that is introduced in Don Quixote 1.7 and frequently recurrent thereafter: Now a Committee-man is a party coloured officer . . . but the more preposterous the more in fashion[,] the right hand fights while the left rules the Reins, the truth is the Soldier and the Gentleman are like Don Quicchott and Sancho Pancha[;] one fights all adventures to purchase the other the Government of the Island. (p. 2; sig. A4v )

Other editions: C4697 (1665), p. 192. Also found in Cleveland’s Poems: C4686 (1651), p. 74; C4688 (1653), p. 95; C4689 (1653, p. 95; C4689A (1654), p. 95; C4690 (1654), p. 95; C4691 (1656), p. 95; C4692 (1657), p. 95; C4692A (1658), p. 87; C4693 (1658), p. 95; C4694 (1659), p. 193; C4695 (1661), p. 191; C4696 (1662), p.193; C4697 (1665), p. 192; C4698 (1669), p.192. Also found in Clevelandi vindiciæ: C4669 (1677), p. 95; C4670 (1677), p. 95; C4671 (1677), p. 95. Also found in Cleveland’s Works: C4654 (1687), pp. 73–74; C4655 (1699), pp. 73–74. 190. Cleveland, John, The Character of a London-Diurnal: with Severall Select Poems. C4662. UMI 21:17 For a reference to Don Quixote’s fight with a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 3. There is another reference in “Smectymnuus, or the Club-Divines.” 6 As A. H. Mayor notes,7 Cleveland’s description of Smectymnuus mocks both the name and its meaning, and in the process mentions Don Quixote’s rosary of slaves (DQ 1.22): Smectymnuus? The Goblin makes me start: · · · · · · The Saints Monopolie, the zealous Cluster, Which, like a Porcupine, presents a Muster, And shoots his quills at Bishops and their Sees, A devout litter of young Maccabees. Thus Jack-of-all-trades hath devoutly showne, The twelve Apostles on a Cherry-stone, 6

7

Smectymnuus: the conglomerate name under which five Presbyterian preachers (Stephen Marshall, Edmund Calamy, Thomas Young, Matthew Newcomen, and William Spurstowe) put forth in 1641 a pamphlet wherein they attacked Bishop Joseph Hall in particular and episcopacy in general. Mayor, “Cervantes, with Especial References to Don Quijote, in English Literature” (unpublished B. Litt. thesis, University of Oxford, 1926), 13.

124

cervantes in seventeenth-century england Thus Faction’s All-a-Mode in Treasons fashion; Now we have Heresie by Complication Like to Don Quixots Rosary of Slaves8 Strung on a chaine; a Murnivall of Knaves 9 Packt in a Trick; like Gypsies when they ride, Or like Colleagues, which sit all of a side. . . . (p. 25)

Other editions in 1647: C4663, pp. 3, 25; C4663aA; C4663A, pp. 3, 25; C4663B, pp. 3, 25; C4664, pp. 3, 25; C4665, a ghost; C4666, pp. 3, 30. Also found in Poems by J. C.: C4686 (1651), p. 24; C4688 (1653), pp. 33–34; C4689 (1653, pp. 33–34; C4689A (1654), pp. 38–39; C4690 (1654), pp. 38–39; C4691 (1656), pp. 38–39; C4692 (1657), pp. 38–29; Also found in Poems, Characters, and Letters by J. C.: C4692A (1658), pp. 28– 29; C4693 (1658), pp. 28–29; Also found in Poems: C4694 (1659); C4695 (1661), pp. 37–38; C4696 (1662); C4697 (1665), p. 39; C4698 (1669), p. 39. Also found in Clevelandi vindiciæ: C4669 (1677), p. 36; C4670 (1677), p. 36; C4671 (1677), p. 36. Also found in Cleveland’s Works: C4654 (1687), p. 29; C4655 (1699), pp. 27– 28. 191. Mercurius Anti-Pragmaticus. Num. 1, M1752.45. N&S 270.1. UMI (Thomason Tracts) 65: E.411[10]

In the issue of this newsbook covering 12–19 October 1647, the writer compares the object of his scorn to Don Quixote: O brave Belphegor!10 Whose pen is pointed with steele, and is able to quell more monsters than Don Quixots speare. (p. 2)

192. Mercurius Anti-Pragmaticus. Num. 2, M1752.46. N&S 270.2. UMI (Thomason Tracts) 65: E.412 [5]

In the issue covering 21–8 October 1647, the writer—intending no compliment—compares those of the royal party to Don Quixote: I Had thought Pragmaticus might have spent the bottles of inke he boasted of, and therefore would have hung up his Harp and chaunted no more discords; nor was I alone of this opinion, for the Cavalierish shee-Firkers,11 those Rampant Girles, began to bemoane his absence in more tears, then if their dear Amadis or red-rose Knight were called in, and they enjoyned on penalty of being forced to 8 9 10 11

Rosary of Slaves: in DQ 1.22. Don Quixote encounters a human chain of slaves headed to the galleys. Murnivall: in a card game, a mournival is a set of four aces, kings, queens, or (as in this case) knaves. Belphegor: a Moabite god worshiped by the Israelites to their sorrow (Numbers 25:3); earlier known as Baal-Peon. “To firk” means, among other things, to cheat or rob.

1647

125

be convertives, not to read them: the Twibill Knights,12 the Quixots of the Royall Party, began to bewaile the silence of their Oracle, imagining their Apollo had left Delphos. (sig. B1r-v )

193. Mercurius Pragmaticus. Numb. 9, M1768.49. N&S 369.109A. UMI (Thomason Tracts 65: E.414 [15]

Mercurius Pragmaticus was the royalist brainchild of Marchamont Nedham (1620–78), a prolific writer who has been described fairly as “a gifted polemicist and journalist who repeatedly changed sides during the Civil War, and became notorious for his railing style and political transpositions.”13 In the issue covering events from 9–16 November, the writer may have been Nedham himself or one of his collaborators, possibly John Cleveland or Samuel Sheppard. Whoever he was, he alludes to DQ 1.8: Next I must act Don-quick sate. Encounter which Weathercocks and Windmills at Westminster, that side to every Wind, and have for the space of full seaven yeeres ground the face of this poore ruined Kingdome. (p. 66; sig. I1v )

194. Taylor, John, A Recommendation to Mercurius Morbicus. Together with a Fair Character upon His Worth. T502. UMI (Thomason Tracts): 65: E.410 [6]

In a section headed “Mercurius Morbicus his Character: what he was, what he is, and what he shall be,” in that part headed “He is,” Taylor compares the object of his scorn to Don Quixote: [He] now struts as stiffe as an Elephant in his new Office; hoping thereby to purge his nonsence, by the perusing and authorizing others labours; corragious Pens must vaile Bonnet 14 to this Don Quixot. (p. 7)

195. Universall Madnesse: or, A New Merry Letany. U75. UMI (Thomason Tracts) 65: E.412 [14]

As Knowles notes (no. 18), there is an allusion to the popularity of Don Quixote in this mock litany: From being taken in bed with another mans wife, From an Userer that ne’re eat a good meale in his life, From parting two Butchers, when they are at strife, 12 13 14

Twibill: a battle-ax that has two cutting edges. Joad Raymond, Pamphlets and Pamphleteering in Early Modern Britain (Cambridge: Cambridge University Press, 2003), 62. Vaile Bonnet: take off a hat to indicate respect or surrender.

126

cervantes in seventeenth-century england Libera, &c.15 From reading Don Quixot and Amadis de Gaule, The Knight of the Sun, with the Devill and all, From smeer’d Gypseis the great and the small, Libera, &c.

(p. 3)

“Smeer’d” gypsies, of whatever rank, are dirtied—figuratively, literally, or both. This would have included England’s “counterfeit gypsies,” who are said to have stained their faces.16

15

16

This refrain is borrowed either from the Litany or a deadly serious requiem mass of the Roman Catholic Church: “Libera me, Domine, de morte æterna” (“Deliver me, O Lord, from eternal death”). Dale B. J. Randall, Jonson’s Gypsies Unmasked (Durham, NC: Duke University Press, 1975), 50–2, 57–62.

@

1648

#

196. Barlow, Thomas, and Thomas Pierce, Pegasus: or, The Flying Horse from Oxford. Bringing the Proceedings of the Visitours and Other Bedlamites There by Command of the Earle of Montgomery. B838. UMI (Thomason Tracts) 69: E 437 (20) The two authors of this Pegasus, Barlow (1607–1691) and Pierce (1622–1691), were both fervent Oxford men. Barlow (eventually Bishop of London) was currently librarian of the Bodleian Library, and Pierce was a fellow of Magdalen College—and evicted this year. Their mutual target here is Philip Herbert, Earl of Montgomery and Earl of Pembroke, who at the time was vice-chancellor of Oxford and superintending visitation of the colleges. The fact that Montgomery was in charge of ejecting royalists helps explain why Barlow signs himself “Basilius Philomusus” in this “Letter from Oxford” dated 17 April. In the excerpt given below from the conclusion to the “Letter,” Barlow’s additional sideswipe at “Olsworth” is directed at Michael Oldisworth, Herbert’s secretary, a frequent target of royalist pamphleteers. More particularly to the point here, Barlow calls to mind Sancho Panza in order to denigrate both the earl and his secretary by paralleling the former with those great and powerful folk who chose to have their portraits painted with an underling of one sort or another. The angry and frustrated author writes: And so this Earle’s Posterity will be able to see their Ancestour set out in a full immortall shape, his Memory is sure not to die. . . . And when that Picture is drawne at length, you neede not feare but his Encourager and Director Olsworth, will finde some roome (though it bee but as a Negro, or Zany, or Sancho) in the Table. (p. 12; sig. C4v )

197. A Case for the City-Spectacles. C867. UMI (Thomason Tracts) 66: E.422 [7] The witty writer of this Case, clearly a royalist sympathizer satirizing radicals in the clergy and army, relates the Trojan horse and its contents to Don Quixote and Sancho Panza, apparently thinking of Don Quixote, 1.8, where Don Quixote mistakes a windmill for a giant: O what a litter of Trojan Puppies were got into the belly of that wooden Beast! Had Don Quixot found out that nest of young Gyants, it would have eternally confirm’d his wild opinion, and Sancho himselfe would have been convinced, and swore it was a Shee-Gyant big with Puppy. (p. 3)

198. Englands New-yeares Gift: or, A Pearle for a Prince. E3004. UMI (Thomason Tracts) 67: E.424 [4]

The author here offers good advice to his prince and in doing so refers to Don Quixote’s battles with sheep (DQ 1.18) and with a windmill (DQ 1.8):

128

cervantes in seventeenth-century england

[S]ubdue thy rebellious nature, and conquer thy corrupt heart. . . . [T]hose against whom thy heart so riseth and rageth, are not thy enemies, and then [i.e., them] with whom fightest thou thus, but with thine owne shadow? or as a Don Quixot with Rams and Windmills? (p. 15)

199. Lloyd, David, The Legend of Captaine Jones. L2630 [UMI 1705:10 is of part 2 only]

For a reference to brave Captain Jones’s desire to take on the bravest Spanish warriors, even Don Quixote, see STC 16614 (1631); in this edition, the passage is found on p. 9. 200. Look to It London, Threatened to Be Fired by Wilde-Fire-Zeal, Schismatical-Faction, & Militant-Mammon. L3010. UMI 1530:4; UMI (Thomason Tracts) 73: E.457 [27]

This document was purportedly “discovered July 15. 1648. In a Discourse with one Croply and Hide, by one John Dias, one of Captain Whaleys Regiment” (p. 1). Edward Whalley (d. 1674/5), a former woollen draper who had served in Oliver Cromwell’s army, was this year named custodian of King Charles at Hampton Court. In the following year he would sit as the king’s judge and sign his death warrant. The writer of Look to It London, moved to warn the city that it is in jeopardy, thinks here of Don Quixote’s mental quirks: I porcupined my pen to run at Tilt with this Junior Donquixot, this City-firing orlando furioso [sic], acting the parts on a paper-stage of an Hercules furens, and mad Ajax, or at least of Sir Henry Hotspur, and Sir Ferdinando Flash, who here vents his mind with his wind. (p. 2)

Most contemporary readers would have remembered both Hercules furens, Seneca’s play about a great hero who goes mad and kills his wife and children, and also Ajax, who killed a lot of sheep, thinking them soldiers of the Greek army. For good measure, the writer here adds the hot-headed Sir Henry Percy (1364–1403), perhaps known best for his role in Shakespeare’s 1 Henry IV, and Sir Ferdinando Fash, who turns up in John Taylor’s A Brown Dozen of Drunkards (1648). Sir Ferdinando is there described as a “mushrump Poet” and “Mushrump Preacher” who “swaggers valiantly with a Goose-quill” (p. 15). 201. Mercurio Mastix Hibernicus, A Muzzle for Cerberus. M3166. UMI (Thomason Tracts) 66: E.449 [3]

In this news pamphlet an Irish sympathizer attempts to muzzle an opponent he likens to the monstrous watchdog of Hades. In the process he refers to Don Quixote’s fighting with “Rams” (DQ 1.18) and “Wind-mills” (DQ 1.8), becomes more inventive when referring to Don Quixote and “poasts,” and then seasons his attack with vague allusions to Spain’s Guzmán de Alfarache and Lazarillo de Tormes (in the latter a famous incident does, indeed, involve a post), as well

1648

129

as to Sinon (the Greek who duped the defenders of Troy), Cacus (the thieving giant son of Vulcan), and Mahomet. The passage reads: [T]his Don quipot [sic] fights as it were with Rams and poasts, and Wind-mills, for Giants, I meane with his owne meere airy and windy conceits, as the Cat plays with her owne tayle, chiefly he fights as with his own shadow. . . . (p. 25) [Mercy, whose name is given to the “lewd Libells, and poysonus Pamphlets,”] was as very a Thiefe, as Scynon, or Cacus . . . [and] with all he was a ch[e]ater, and a lyer, a couzener, and an imposter, like the Turkish Mahomet, the Spanish Guzman, Lazarillo de Tormes, and the most nimble Troynovant City Sinons. (p. 31)

202. Mercurius Anti-Mercurius. Numb.1. N&S 269.1. UMI (Thomason Tracts) 74: E. 464 [15]

In the first issue of this journal, which covers events of 12–19 September 1648, the writer-editor (possibly John Harris) indicates he is “Impartially Communicating Truth, correcting falshood, reproving the wilfull, pittying the Ignorant, and opposing All false and scandalous aspersions unjustly cast upon the two Honourable Houses of Parliament.” In the first paragraph, the writer invokes Don Quixote and “his Wind-mill duels” (DQ 1.8): What Hog-Magog1 in the first incounter? the great Swisse with his two hand side by sword?2 the famous Don-Quixot quarelling in his Wind-mill duels? (sig. A2r )

203. Mercurius Anti-Mercurius. Numb.2. N&S 269.2. UMI (Thomason Tracts) 74: E.465 [11]

In this issue for 26 September–2 October 1648, the writer (possibly John Harris) pretty clearly alludes to Don Quixote as the Spanish knight-errant— but his statement is garbled. The “Monro” he mentions was Sir George Monroe (d. 1693), a royalist general who at this point had recently taken a stand at Stirling, seized the bridge there, and laid plans to make Stirling a headquarters for gathering reinforcements. Failing totally in this endeavor, however, in late September he had to agree to disband his forces, and before long he found it prudent to flee to Holland (DNB 13:631–2). On the other hand, Oliver Cromwell (1599–1658) had won a major victory over the allied royalists and Scots back at Preston (17–19 August), and the Second Civil War was essentially over by the end of summer. Doing a little gloating here, the author writes: But will you heare a lye, and that a loud one too? why forsooth upon this rout the poore sneaking Cavaliers (that have as much coyne as courage, and of both not so much as will fill a nut shell) began to roare as loud as the Beares of 1 2

Hog-Magog: apparently either a misprint or a scornful downgrading of “Gogmagog,” the greatest of the British giants and occasionally simply a man of great stature and strength. The two-handed weapon noted here, used fairly widely since medieval times, was at least sometimes specifically associated with the Swiss. The OED yields “Two handed like the Swissers swords” (Juan de Palafox y Mendoza, The History of the Conquest of China [1671]).

130

cervantes in seventeenth-century england

Paris-garden,3 God-dam’em but Monroe had cut off, (just as the Spanish Knight errant Garragantuses 4 head, and routed the whole body of Alexanders Army) no lesse than 1600 of Crumwells Horse (cut and longtaile)5 nay God sink’em and rot’m but hee had received a totall overthrow, when as neither he nor his were within the smell or hearing of them. (p. 5)

204. Mercurius Britannicus. Numb. 9. N&S 282.09. UMI (Thomason Tracts) 72: E.452 [3]

In this journal which claims to give “A perfect accompt of the Designs of the Royall Party through the Kingdome,” this issue dated Tuesday, 11 July 1648, refers to Don Quixote and windmills (DQ 1.8): Well, we may now at last see that every one of those Insurrections does not wonders, and the Commonwealth is not so neer her last gasp as we are made to believe; but that the hopes of the other party being on the verticall point, begin now to turn and advance backward ; for by their leaves, among all their braggings and surprizings of Towns, and Castles, and Cities, and Towers, and Windmills, and Cottages, and Don Quixote knows what, they have met with three or four considerable snufles. 6 (pp. 65–6)

205. Mercurius Pragmaticus. Num. 1. N&S 369.201. UMI (Thomason Tracts) 68: E.434 [17]

In this newsbook’s first issue for the “new year,” 28 March–4 April 1648, the author (possibly John Cleveland, Samuel Sheppard, or Marchamont Nedham) comments sarcastically on Parliament’s funding for the University Library in Cambridge and lampoons the “godly Quixots” who extol the virtues of the new social order: [T]hey have ruined our famous Universities, yet pretend the advancement of Learning. They have Ordered two thousand pounds cut of Deanes and Chapters Lands, for the Augmentation of the Library in Cambridge; whereby Scholars are given to understand, they shall have Bookes, though little comfort to use them, when that meanes which was once the incouragement of their Studies, shall bee imployed to set them on worke, but never to reward them, were it not that Knowledge itselfe is a sufficient recompence unto all that seek her. But it will be a hard matter to finde her there considering what learned Tutors and Authors 3 4

5 6

Bears at this time were still being housed and baited in Paris Garden on London’s Bankside. If this is not a garbled reference to Gargantua of François Rabelais, the author may have had in mind the fierce Garamants of ancient Libya, whose king was Pentapolín del Arremangado Brazo (see DQ 1.18 and Howard Mancing, The Cervantes Encyclopedia, vol. 2 of 2 vols. [Westport, CT: Greenwood Press, 2004], 554). Then again, he may be freewheeling. Long-tail: refers to a horse or dog with an uncropped tail. When coupled with “cut,” it means animals or people of all sorts, as in Shakespeare’s Merry Wives, 3.4.47 (OED). “Snufles” may be either a variation of or an error for snaffle. The latter term is a restraining bit or bridle for a horse (OED).

1648

131

are in request: Alas poore Cambridge! the jerre 7 of Ignoramus returnes home upon thy selfe now,8 since thou art damned to Presbytery and six penny Pamphlets. Sure it will bee a Library farr before that heathenish one once of Alexandria, or that Antichristian one now in Rome, or the more prophane one in Oxford, when all the bounty of the Members shall be laid out upon the Paper-worms of this Reformation. Truly, two thousand pounds sound high, among the single sheeted Authors, the Romance’s and Gazetta’s of the famous Victories and Exploits of the godly Quixots; it must needs be a rare Library, when it shall be said, that Will Pryn was brought out of Captivity to be chained among the learned, and that the Commentaries of Austin, and the Homilies of Chrisostome, were jostled out of the Range, to make roome for the more glorious Revelations of three-penny Non-sence of Fast-Sermons, and most empty Treatises; which may serve very well to traine up a New-Modell of junior wise Arts, to condemn all the Ancients to Moths and Cobwebs, till some better generation arise, that will be able to understand them. (sig. A2r )

“Austin” was, of course, St. Augustine, and William Prynne (1600–1669), presumably released from captivity here, was one of the most outspoken Puritans. For Histriomastix (1632), Prynne’s attack on stage plays (in which he impugned the queen), he was sentenced to be fined, imprisoned for life, and subjected to removal of his ears (1634). Subsequently he became a prolific producer of pamphlets, among other matters favoring Parliament, attacking bishops, attacking the Commonwealth, and punishing regicides. 206. Mercurius Psitacus: The Parotting Mercury. Numb. 4. N&S 375.4. UMI (Thomason Tracts) 71: E. 450 [25]

In the issue for 21 June–3 July 1648, the anonymous writer calls the object of his scorn a “Quixot” and alludes to Don Quixote 1.8: Sir Robert Booth of Cheshire . . . once challenged his hogheard 9 to a Duell, and valiantly beat three boies almost to death that were codding10 in his peasefield: this Quixot will incounter with any Wind-Milne, and is a fit Hero to be entred into the List of Parliament-Worthies. (sig. A2r )

207. Prideaux, Mathias, An Easy and Compendious Introduction for Reading . . . Histories. P3439. UMI (Thomason Tracts) 74: E.466 [1] Mathias Prideaux (c.1625–1646?) was an M.A. and sometime Fellow of Exeter College, Oxford. At the time his Compendious Introduction was edited and published by his father, John Prideaux (1578–1650), Bishop of Worcester, Mathias apparently had served fairly recently as a captain in the king’s service. In any case this volume was edited posthumously and dedicated to Sir Thomas and Lady Katharine Reynell “FOR THE USE OF their Towardly young Sonnes,” 7 8 9

Jerre: probably “jeer,” designating rude scolfing or deriding. The Latin comedy Ignoramus by George Ruggle (1575–1621/2) was performed at Trinity College, Cambridge, in 1615. 10 Hogheard: i.e., hogherd, someone who tends swine. Codding: behaving lasciviously.

132

cervantes in seventeenth-century england

Thomas and Henry Reynell. Here in a section headed “Concerning History of Professions, As also, Naturall, Various, and Vaine Narrations,” the younger Prideaux approves of most histories, but not romances. Romances are, he says, “the Bastard sort of Histories . . . noted not for any great uses in them, but for manifold abuses by them” (p. 343). Most of them are rude (Huon of Bordeaux), endless (Amadis de Gaule), depraved (Arthur and his knights), or superstitious (Abdias Babilonaius).11 He makes an exception for the “wandering knights” found in Homer, Spenser, and Sidney, in those “romances” that point to policy (More’s Utopia and Bacon’s New Atlantis), and in satirical romances that wittily scourge the others. Regarding romances that are useful, he writes: The wandering Knights . . . with other peices [sic] of the like straine may passe with singular Commendations for morall Romances, being nothing else but Poeticall Ethicks, that with apt contrivance, and winning Language, informe Morality. . . . To Romances that poynt at Policy . . . diverse passages in Chaucer, and many other in the same kind may be referred. The vanity especially of the foure first kinds is wittily scourged by the Satyrical Romances of Don Quicshot, Lazarillo de Tormes, Gusman, Pantagruell, Don Diego’s visit of the Inhabitants of the Moone,12 and the like. (pp. 344–5)

Other editions: P3440 (1650), pp. 349–50; P3441 (1654), pp. 349–50; P3442 (1655), pp. 349–50; P3442a (1664), pp. 349–50; P3443 (1664), pp. 349–50; P3444 (1672), pp. 349–50; P3444a (1673), pp. 349–50; P3445 (1682), p. 379. 208. Taylor, John, A Brown Dozen of Drunkards. T435. UMI 2557:12 After pluralizing the names of Gnatho (the parasite in Terence’s Eunuchus) and Thraso (the braggart soldier there), Taylor alludes here—as Knowles notes (no. 22)—to Don Quixote’s battles with “Rams” (DQ 1.18) and “Wind-Milnes” (DQ 1.8). In “The Authors friend to every sober and solid Reader” he writes: Some, Gnatoes, Thrasoes some, some in their pots Are Mushrump Poets, some meere Don Quixots, With Rams, and Wind-Milnes fight.

(sig. A1v )

As Knowles also notes (no. 21), there is another reference in “Drunken Don Quixot, ali-ass Witty-poll”: OF a sudden by the fumes of Bacchus a mushrump Poet, (as a Plebian Enthusiast in a trice by a Revelation dropped out of the clouds, or like a Pallas (paleasse) borne out of a fictitious Jupiters braine, in his owne conceit or deceit, is a Mushrump Preacher,) with his est Deus in nobis agitante calescimus illo,13 Moses 11

12 13

Abdias of Babylon, supposedly appointed by the apostles Jude and Simon to be the first bishop of Babylon, was misleadingly credited with the authorship of Historia certaminis apostolici—a work filled with old legends and probably not composed until the sixth century. See The Catholic Encyclopedia, vol. 1 (New York: Universal Knowledge Foundation, 1913), 30–1. In Francis Godwin’s Man in the Moone (1638). “There is a god within us” (Ovid, Fasti, 6.5). See James George Frazier, trans., rev. G. P. Goold, Ovid, 2nd edn. (Cambridge, MA: Harvard University Press, 1989), 318–19.

1648

133

and Aaron yeeld to us our fires, Promethians be our Spirits, heaven inspires, but to send your eyes after this Sir Ferdinando Fash,14 this Furor Poeticus, however when he is himselfe meer man, and no more, his Genius is obtuse, and dull and heavy, as a great headed Oxe that needs the Goad, . . . he never is so good a Poetaster, as when a pot-taster. (p. 15)

209. Taylor, John, Mercurius Nonsencicus, Written for the Use of the Simple Understander. T482a. UMI 516:33 Taylor refers to courageous Don Quixote in this political satire against, among other targets, newsmongers who are flourishing in This age wherein no man knowes whether he lives or not lives, whether he wakes, or dreames; when he can hardly trust his eares with what he heares. . . . A Plot, a Plot, a most horrible, terrible, execrable, detestable, abhominable, and damnable Plot; discovered strangely upon Newmarket Heath, where . . . an old blind Woman stumbled, and . . . saw 40000. Horse, all Man’d, or back’d with brave, bold, desperate, valiant, violent, coragious Don Quixots. (p. 3; sig. A2r )

210. Walker, Clement, Anarchia Anglicana: or, The History of Independency. W315. UMI 1218:8 Walker (1595–1651), a prominent Presbyterian leader, was a vigorous opponent of Independency. Because of his History of Independency, cited here, he was in 1649 committed to the Tower of London, where he remained until his death in 1651. In the first part of the work, in a section about the artifices used to make Oliver Cromwell and his New Model army popular, Walker writes: When my great exploit was half atchieved, and the difficulties overcome, Cromwell was sent to finish it, and take the glory to himself, all other men must be eclipsed, that Cromwell (the Knight of the Sun and Don Quixot of the Independents) and his Party may shine the brighter. (p. 30)

Also found in The History of Independency (1648): W329 (UMI Thomason Tracts 74: E463 [1]), p. 4; W329A (UMI 2141:6 and UMI 903:39), p. 4; W329B (UMI 2181:6), p. 32; W330, p. 4; W330A (UMI 2023:1), p. 30. Another edition: W330B (1650). Also found in Relations and Observations (1648): W334, p. 30; W334A (UMI 2376:1), p. 32; W334B (1648); W334C (1648); W335 (1648?/60?), p. 30. Another edition: W335A (1660?), p. 30. Also in The Compleat History of Independency: W324 (1661), p. 30; W324A (1661), p. 30; W324B (1661), p. 30; W324C (1661), p. 30. 14

Cf. 1648, Look to It London.

134

cervantes in seventeenth-century england

211. Winyard, Thomas, Midsummer-Moone: or, Lunacy-Rampant. W3097. UMI 1305:35 Winyard’s target here is Francis Cheynell (1608–1665), an Oxford fellow of Merton (1629; M.A., 1633) who served as a chaplain in Parliament’s army and subsequently became a member of the Westminster Assembly and one of the parliamentary visitors to Oxford University (1647)—where he was injected as president of St. John’s College (1648–50). Winyard’s Midsummer-Moone: or, Lunacy-Rampant is further subtitled: “Being a character of Master Cheynell the arch visitor of Oxford, and mungrellpresident of Saint John Baptist’s Colledge. With a survey of the three renegadofellows Web, Inkersell and Lownds.” Winyard takes Don Quixote’s name, applies it to Cheynell, and turns it into a past participle: He differs from an ordinary Tom of Bedlam . . . : sure he’s Don Quixoted, takes the Colledg[e] for an Enchanted Castle, the Fellows for Giants, W. W.[,] Ink— and L. L. for three distressed damsels.

Also found in some editions of John Cleveland’s Cleveland Revived : C4674 (1659), not present; C4675 (1660), p. 181; C4676 (1662), p. 173; C4677 (1668), p. 173.

@

1649

#

212. ≈’… ŸÕ ¡’À« ´»…Õ« [Eik¯on alethin¯e]. The Pourtraiture of Truths Most Sacred Majesty Truly Suffering, Though Not Solely. E267. UMI 142:8

This work is a convoluted attack on the anonymous and extraordinarily popular Eikon Basilike, the Pourtraicture of His Sacred Majestie in His Solitude and Sufferings (1649), which was put forth by John Gauden, Bishop of Worcester, and purported to be the work of Charles I (who was beheaded on 30 January 1649). Anonymous itself, Eikon Alethine mentions Don Quixote’s construing a barber’s basin as a knight’s helmet (DQ 1.21): [B]ut least these Geese should not be sufficient to defend his Capitol,1 these lame and blinde Jebusites to maintain his strong hold; he endeavours by his magick, to raise defences, and by conjuring up the dead to make an enchanted Castle (truly it is no wonder in such a piece of knight errantry to meet with an Archi mago;2 yet none but a Don Quixote will take his basin for Mambrino’s helmet, or esteem him to have a golden head, because he hath a brazen face) and so in subtilty set it not out till the late King was dead. (sig. A1v )

213. Hackluyt, John, attrib., The Metropolitan Nuncio: or, Times Truth-Teller. N&S 349.2. UMI (Thomason Tracts) 86: E.560[3] In the third issue of this publication, dated 6–13 June 1649, while attacking “News Gablers” in general and Samuel Sheppard in particular, the author refers specifically to Don Quixote’s battle with a flock of sheep (DQ 1.18; see Fig. 11), and then appears to allude to his battle with a windmill (DQ 1.8): And another lye he tells of [James Graham, first Marquess of ] Montrosse, and of his rallying of forces, just as Don Quixot rallyed, after he had charged the sheep Battall [print blurred], this fellows head hatches Aire and brings forth Wind-mills. (sig. A2r )

214. Hall, John, of Gray’s Inn, An Humble Motion to the Parliament of England Concerning the Advancement of Learning and Reformation of the Universities. H350. UMI 32:11 In a discussion of the books young people should read, Hall (1627– 1656), himself a young man who attempted to write a romance, is fearful 1

2

The writer summons up the time when the cackling of geese at the capitol in ancient Rome alerted Manlius to an attack by the Gauls and enabled him to rouse up his men to rout them. Juxtaposed with the geese here, however, are the Jebusites. Historically the name of a tribe of Canaanites expelled from Jerusalem by David, the term in seventeenth-century England was sometimes used to refer to Roman Catholics, particularly Jesuits. Archi mago: preeminent wizard or enchanter. In Spenser’s Faerie Queene, Archimago personifies hypocrisy.

136

cervantes in seventeenth-century england

11. Here Don Quixote charges into one of the flocks of sheep (a second flock may be glimpsed in the left middle background), mistaking them for the embattled enemies Pentapolín of Garamantas and Alifanfarón, emperor of Trapobana (DQ 1.18; from John Phillips’s 1687 History of the Most Renowned Don Quixote of Mancha; verso of a leaf inserted between pp. 59 and 61). In Phillips’s English, Don Quixote cries out to Sancho “I need not the Assistance of a Coward, I’le have the Honour of the Victory my self. And so saying, he couch’d his Lance, and putting Spurs to Rosinante, flew like Lightning into the Plain. Sancho bawl’d after him as loud as he could yaul; call’d Heav’n to witness, that they were only Sheep” (p. 78).

1649

137

that some with weak minds might fall into the strange behavior of Don Quixote: [S]eeing onely the greatnesses of some men mentioned, and neither their particular imperfections, nor the meanes by which they atchieved their ends particularly set downe; I thought it could not but stretch many weake mindes to disproportionate thoughts; and like Palmerine3 or Don Quixote make them thinke of things beyond the Moon. (p. 37)

215. Hall, John, of Gray’s Inn, A Serious Epistle to Mr. William Prynne. H359a. UMI 1965:05 In an open letter to the Puritan writer Prynne (who had continued to write after his branding and the removal of his ears), Hall alludes to Cervantes’s “Preface to the Reader” in Don Quixote: [A]nd for quotations I knew it was either transcribing of yours into my Margent4 (which is as much concern’d in them as yours) or else follow Cervantes his advice, and take the first Catalogue of Authors I met and own them. [In a shoulder note: “Pref. to Don quixot.” (sic).] (p. 3)

The advice in the satirical prologue to Don Quixote is, of course, not that of Cervantes or even of Cervantes’s narrator but that of a would-be clever friend of the narrator who shows up when the narrator himself is presumably afflicted by writer’s block. Another edition in 1649: H359b (UMI Thomason Tracts 88: E.575 [4]), p. 3. 216. Taylor, John, John Taylors Wandering to See the Wonders of the West. T528. UMI (Thomason Tracts) 88: E.573 [12] As Knowles notes (no. 25), Taylor refers here to Don Quixote and alludes to Rocinante: [T]he thing I was mounted on was neither Horse, Mare, or Gelding, it was all spirit, with very little (or no flesh.) It was none of your pursy foggy Jades, and amongst Horsemen it might have past for a Light Horse, too much worke, and too little meate, made him as gaunt as a Greyhound: Thus (mounted like Don Quixot) I entred Farington. (p. 2)

217. Walker, Clement, The History of Independency. W330b For a reference in which Cromwell is considered the Don Quixote of the Independents, see Anarchia Anglicana: or, The History of Independency, W315 (1648).

3 4

Among other possibilities, Hall probably has in mind here Palmerin of England (from Palmerín de Inglaterra, by Francisco de Moraes). Margent: the vacant space between any writing and the outer edge of a page.

@

16501

#

218. Hobbes, Thomas, Humane Nature: or, The Fundamental Elements of Policie. H2242. UMI (Thomason Tracts) 256: E.1394 (2) A year before publishing what proved to be his most famous work, Leviathan, Thomas Hobbes (1588–1679) put forth his Humane Nature. He dedicated it to William Cavendish, whose tutor he had been some forty years before, and whom he now addressed as “the Right Honorable William Earl of Newcastle, Governour to the Prince his Highness” (sig. A5r )—though later still Cavendish would be created and known as the Duke of Newcastle (1665). Well into Hobbes’s analysis, Humane Nature postulates the sort of man who “imagineth himself to do the actions whereof he readeth in some Romance” (pp. 92–3). Only many pages later does the text refer directly to Don Quixote. At that point Hobbes has just described but left unnamed a crazed fanatic named William Hacket, who back in Queen Elizabeth’s day became known for mounting a cart in Cheapside and proclaiming himself to be Jesus Christ. The only specific name Hobbes mentions in this passage on madness, however, is that of Cervantes’s knight. As Paolo Cherchi has observed,2 Hobbes writes: Another and a principal defect of the Minde, is that which men call Madness, which appeareth to be nothing else but some imagination of some predominancy above the rest, that we have no passion but from it; and this conception is nothing else but excessive vain glory, or vain dejection: which is most probable by these Examples following, which proceed in appearance every one of them from Pride, or some dejection of minde. As first, we have had the example of one that preached in Cheapside from a Cart there, in stead of a Pulpit, that he himself was Christ, which was spiritual pride or madness. We have had also divers Examples of Learned Madness, in which men have manifestly been distracted upon any occasion that hath put them in remembrance of their own ability. Amongst the Learned men, may be remembred (I think also) those that determine of the time of the worlds end, and other such points of Prophecie. And the gallant madness of Don Quixotte [sic] is nothing else but an expression of such height of vain glory as reading of Romance may produce in pusillanimous men. (pp. 127–8) 1

2

Though it is omitted here, Knowles would include among entries for this year a reference to “Robin Hood and the Pedlars,” a ballad of unknown date from Francis James Child, The English and Scottish Popular Ballads, vol. 5 of 5 vols. (Boston: Little, Brown and Co., 1888), Ballad no. 137, p. 172. This ballad relates how Robin Hood, participating in a scuffle with some peddlers, is hit hard by a staff and falls into a swoon. When given a supposedly curative “balsame” by one of the peddlers, Robin Hood quickly vomits on Scarlett and John. Knowles believes that this action has been suggested by Sancho’s suffering a “similar indignity” from Don Quixote (DQ 1.18). Cherchi, “Hobbes e Don Quijote: Una nota sulla fortuna del Don Quijote in Inghilterra,” Quaderni ibero-americani 37 (1969): 47–8.

1650

139

Other editions: H2243 (1650), UMI (Thomason Tracts) 255: E.1400[1], pp. 126–7. Also found in Hobbs’s Tripos, in Three Discourses: H2266 (1684), pp. 66–7. 219. The Man in the Moon. Discovering a World of Knavery under the Sunne. N&S 248.46. UMI (Thomason Tracts) 91: E.595 [4] In this issue of 6–13 March 1650, the author (possibly John Crouch) rails against Cromwell and his followers and turns to animals to argue his case. In the following passage, in which he refers to Don Quixote and alludes to Don Quixote’s adventure at the fulling mills (DQ 1.21), he also refers to “Towser” (a common name for a large dog, particularly one for baiting bears and bulls) and the “Bulls of Basan” (who reputedly were as fierce as lions [Psalms 22:12]): Towzer is of more noble Breed then so: hee is altogether for the Bulls of Basan . . . they having so valiant Champion as T.B. to their Don quick Soit to defend their fulling-mills. (p. 362; sig. Yy1v )

It is likely that the “T.B.” mentioned here is Thomas Bayly, a Church of England clergyman who in 1649, after the execution of Charles I, put forth a book called The Royal Charter Granted unto Kings by God Himself. Subsequently and probably because of such views he was locked up in Newgate. Then, on 9 February 1650, about a month after this issue of Man in the Moon appeared, he was released with the proviso that he do nothing to rock the governmental boat.3 220. Mercurius Pragmaticus, ( for King Charls [sic] II ). N&S 370.52. UMI (Thomason Tracts) 92: E.600 [6]

In this issue of 30 April–7 May 1650, the author (possibly Marchamont Nedham) refers to one “Backsted” as Don Quixote. The target is John Barkstead (d. 1662), who, judging from lampoons in his later life, was in his early days involved in the sale of thimbles and bodkins. In any case, Barkstead went on to become a soldier, a regicide, and eventually a knight (praised and created by Oliver Cromwell), and in 1650 his regiment was chosen to guard both Parliament and the City of London. Though he fled to the continent after the Restoration, Barkstead was brought back to be executed at Tyburn on 9 April 1662.4 We have something else to speake of the great Maying, the Saints in Triumph ride Coached; no feare can disswade them from their pleasure. Six rich Coaches loaded with States-men, tooke fresh-Ayre in pontificalibus, and on the same day, being May-day, the great Don-Quixot, or the Thymble-maker Backsted marched to Rendezvous for recreation of their Rebell-ships. It would have made a quezie stomack puke to see the Mechanick f—(having bestrid a gallant gray-Horse) ride 3 4

Thompson Cooper, rev. Stephen Wright, Oxford DNB, 4:467–8. Christopher Durston, Oxford DNB, 3:908.

140

cervantes in seventeenth-century england

prancing before a Regiment of Redcoate-Janizaries, and looking as big as bull beefe. (sig. Fff2r ).

221. Poetical Commonplace Book. (c.1650). Folger MS. V.a.162 This collection, probably compiled by a person connected with Oxford, includes a poem about the literary handiwork of Barten Holyday (1593–1661). It may be hoped that Holyday was a better translator (of Persius, Juvenal, and Horace) and divine (chaplain for a while to King Charles) than he was a playwright. In 1621, at Woodstock, when Oxford students performed his miserably tedious play called Technogamia, King James was hard put to sit through it. The Folger poem reads in part: And now good Holyday Alacke & Welladay A Favorable censure god send you Else for all thy blancks5 Thou wilt gett thee small thanks But goe home as thou cam’st & mend yee. Yet all this braule With grammr may not be forgott: Which disnobleth quite The notorious sight [sic; read fight] Betwixt the Briscan & Don Quixott. (fo. 75r )

The ballad alludes here to the fight between Don Quixote and an angry Biscayan squire. The latter is accompanying a coach carrying a lady whom our knight presumes is a kidnapped princess (DQ 1.8–9). 222. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3440. UMI 1533:26 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on pp. 349–50. 223. Vaughan, Thomas, Anima Magica Abscondita: or, A Discourse of the Universall Spirit of Nature. V142. UMI 479:18 Vaughan (1621–1666), a Welsh poet who wrote in both English and Latin, was also an alchemist. Here in his Anima magica abscondita he includes an epistle to the reader wherein (as Alan Rudrum notes 6 ) he alludes to the prologue of Don Quixote, pt. 2, in an epistle addressed to the reader: 5 6

Blancks: lines of blank verse (i.e. unrhymed iambic pentameter), in this instance with probable overtones of vacuity, a void (OED). Rudrum, ed., The Works of Thomas Vaughan (Oxford: Clarendon Press, 1984), 614 n.

1650

141

Reader, if I studied these Things [astrological], I should think my self worst imployd then . . . Chaucer was in his Troilus. I come out as if there were no Houres in the Day, nor Planets in the Houres: neither do I care for any thing, but that Interlude of Perendenga in Michael Cervantes: Let the old Man my Master live, and Christ be with us all. (sig. A2v )

While Troilus and Criseyde (1385) is now often held to be Geoffrey Chaucer’s greatest achievement, La Perendenza is a now lost entremés. Toward the end of his prologue to pt. 2, Cervantes borrows a sentence from it in order to mock the 1614 continuation of Don Quixote by Alonso Fernández de Avellaneda. Vaughan’s word-for-word accuracy here makes it likely that he had a copy of the 1620 English translation at hand. Another edition in 1650: V142a. 224. Vaughan, Thomas, Anthroposophia Theomagica: or, A Discourse of the Nature of Man and His State after Death. V143. UMI (Thomason Tracts) 174: E.1302[2]

Dating Vaughan’s Anthroposophia Theomagica is complicated by the fact that its preface is dated “Oxonii 48,” yet the volume was clearly issued in 1650, together with his Anima Magica Abscondita. At any rate, in some remarks from “The Author to the Reader” in Anthroposophia Theomagica, Vaughan’s description of his own intellectual stance includes a casual allusion to Don Quixote. In a passage where he acknowledges that the medieval schoolmen were “ingenious,” he observes also that while they “prescribe rules for Method . . . they want [i.e. lack] Matter. Their Philosophie is like a Church, that is all discipline and no Doctrine” (sig. B2v –3r ). He continues: Besides their Aristotle is a Poet in text, his principles are but Fancies. . . . Hence it is that his followers, notwithstanding the Assistance of so many Ages, can fetch nothing out of him but Notions. . . . Their Compositions are a meer Tymphanie of Terms. It is better then a Fight in Quixot, to observe what Duels, and Digladiations 7 they have about Him. One will make him speak Sense, another Non-sense, and a third both. (sig. B3r )

Another edition: V143A (1656), sig. B3r . 225. Vaughan, Thomas, Magia Adamica: or, The Antiquitie of Magic. V151. UMI (Thomason Tracts) 174: E.1299 (1)

This work was published with Vaughan’s pseudonym, “Eugenius Philalethes.” Under the running head “Cœlum Terræ, or the Magician’s Heavenly Chaos,” in a section about two worlds, one visible and the other invisible, and two universal natures, visible and invisible, in a paragraph beginning “Said the Cabalist,” one finds references to Don Quixote and Dulcinea: 7

Digladiations: disputes.

142

cervantes in seventeenth-century england

This is an Humor much like that of Don Quixote, who knew Dulcinea but never saw her. (p. 81; sig. H2r )

As Rudrum notes (Works, 654), there is also a reference to Sancho Panza being tossed in a blanket (DQ 1.17): Now the Astronomers pretend to a strange familaritie with the starrs, the Natural Philosophers talk as much: and truly an Ignorant man might well think they had been in heaven, and conversed . . . with Jove himself. But in good Earnest these Men are no more Eagles than Sancho, their fansies are like his flights in the Blanket, and every way as short of the Skies. (p. 126)

Another edition: V152 (1656), same pagination.

@

1651

#

226. Aristophanes & Thomas Randolph, A Pleasant Comedie, Entituled Hey for Honesty. A3685. UMI 932:11 Sometimes considered in his time as a literary heir to Ben Jonson, Thomas Randolph (1605–1635) was a fellow of Trinity College, Cambridge (1628), a poet, and for a while a professional playwright for the King’s Revels at the Salisbury Court theater. His Hey for Honesty, Down with Knavery, apparently originating about 1626–8, began as a very loose approximation of Aristophanes’s Plutus. It was later much “augmented,” and eventually, after Randolph’s death in 1635, packed with mid-century allusions and published by one F. J. (i.e., Francis Jacques?). As Becker notes (Aufnahme, 43), a character named Carion refers to Don Quixote’s valor in 3.3—in fact compares himself to Don Quixote as he describes himself to some rustics named Clodpole, Stiff, and so on: So now you see Carion for his valour may compare with Don Quixot or the mirror of chivalry. (p. 23)

The first and second parts of Espejo de caballerías (1525 and 1527)—i.e., Mirror of Chivalry—were by Pedro López de Santa Catalina, and the third part (1547) was by Pedro de Reinoso. These works are of interest in part because they constitute one of only five chivalric romances that Cervantes allows to escape the cleansing fire in DQ 1.6. 227. Brathwaite, Richard, History Surveyed in a Brief Epitome: or, A Nursery for Gentry. B4265. UMI 1456:8 In a section in which he discusses the profit to be had from the study of history, Brathwaite (who is well known by students of conduct books) disapproves of romances in general but allows that Don Quixote is a witty work: Some we see delighted with the strange and incredible miracles of Mandevill: others with the victorious combats of our Bevis of Southhampton [in a shoulder note: “What fabulous Histories more suffered than approved”]: others, more conversant with the Tragick Histories of our time (prodigies in part meerely invented.) And last of all (which in my judgement is worst of all) others with the phantastick writings of some supposed Knights, (Don Quixotte Transformed into a Knight with the Golden Pestle) [in a shoulder note: “A witty invention, but full of distraction”] with many other fruitlesse inventions, moulded only for delight without profit. These Histories I altogether exclude [from] my Oeconomy. (pp. 345–6)

144

cervantes in seventeenth-century england

The golden pestle here is an interesting verbal bond with Beaumont’s Knight of the Burning Pestle, where Rafe becomes a “knight that bears | The golden pestle” (2.4). Cf. supra, 1607. Another edition: B4266 (1652), pp. 345–6. 228. Burton, Robert, The Anatomy of Melancholy. Sixth edition. Oxford. B6181. UMI 1418:18 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 282. For a reference to Dulcinea in a passage about alluring women, see STC 4163 (1638). In this edition, the passage is found in part 3, section 2, member 4, subsection 1, “Symptomes or signs of Love Melancholy,” p. 522. 229. Cartwright, William, Comedies, Tragi-Comedies, with Other Poems. C709. UMI (Thomason Tracts) 169: E.1224 [1] and UMI 2226:2 An Oxonian through and through, William Cartwright (1611–1643), best remembered now as a playwright, was also a poet, soldier, and Church of England clergyman. King Charles I thought his Royal Slave “the best that ever was acted.”1 For an allusion to Sancho Panza’s governorship of an island (DQ 1.7 et seq.), see The Ordinary, C714 (1651). For the connection of The Lady-Errant to Don Quixote, see C710 (1651). 230. Cartwright, William, The Lady-Errant. A Tragi-Comedy. C710. UMI 2226:2

Particularly notable as a play in which women’s roles were actually played by women, Cartwright’s Lady-Errant has been thought to owe something to Don Quixote. In the words of G. B. Evans: Although no definite source for Cartwright’s conception of the character of Machessa, the Lady-Errant, can be indicated, the springs from which she rose are not difficult to trace. Burlesques of the ridiculous stories and popular heroes of knight-errantry are common, from Don Quixote and The Knight of the Burning Pestle to Holland’s Romancio-Mastrix or Butler’s Hudibras. Once given the idea of satire, the rest follows.2

Also found in: Comedies, Tragi-Comedies, with Other Poems, C709 (1651). 231. Cartwright, William, The Ordinary, a Comedy. C714. UMI 2226:3

In his Ordinary (apparently performed in 1634), Cartwright may allude to Sancho’s island, a subject Cervantes introduces in Don Quixote 1.7 (Evans, Plays and Poems, 627). In 1.4, Cartwright’s Credulous says: 1 2

Quoted by Dennis Flynn, Oxford DNB, 10:416–18. Evans, The Plays and Poems of William Cartwright (Madison: Wisconsin University Press, 1951), 88.

1651

145

The Turkish Monarchy’s a thing too big For him to manage; he may make perhaps The Governour of some new little Island. (p. 16)

Also found in: Comedies, Tragi-Comedies, with Other Poems, C709 (1651). 232. Cleveland, John, Poems by J. C. C4683A For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 24. For a reference to Don Quixote’s fight with a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 68. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 74. Other editions in 1651: C4684 (UMI 176: 36), pp. 22, 60, 73; C4685 (UMI 2617:16), pp. 34; 3 (2nd pagination), 10 (2nd pagination); C4685a (UMI 734:2, as C4685), pp. 34; 3 (2nd pagination), 10 (2nd pagination); C4686 (UMI 734:3), pp. 24, 68, 74. Other editions: C4688 (1653), pp. 33–4, 90, 95; C4689 (1653, pp. 33–4, 90, 95; C4689A (1654), pp. 38–9, 90, 95; C4690 (1654), pp. 33–4, 90, 95; C4691 (1656), pp. 38–9, 90, 95; C4692 (1657), pp. 38–9, 90, 95; C4692A (1658), pp. 28, 79, 87; C4693 (1658), pp. 28–9, 87,95; C4694 (1659), pp. 38–9, 184, 193; C4695 (1661), pp. 37–8, 182, 191; C4696 (1662), pp. 39, 184, 193; C4697 (1665), pp. 39, 183, 192; C4698 (1669), pp. 39, 183, 192. 233. Massinger, Philip, and Thomas Dekker, The Virgin-Martyr: A Tragedie. M1052. UMI (Thomason Tracts) 95: E.620 [9] For a possible allusion to Don Quixote 1.8 in 2.2, see STC 17644 (1622); in this edition, the passage is found on sig. C4v . 234. Taylor, John, Of Alterations Strange. T493a. UMI 2241:12 Here the prolific “Water Poet” (see Fig. 9, p. 96) praises himself and poets in general, indeed reminds readers that King James himself was a poet. Along the way he also remarks that ale may make a man think himself Don Quixote: Ale and I together will agree, I’le make the Barrell light, and Ale lights me. And (to conclude) a Satyre I’le relate, To shew how Ale will valour Elevate; How it can make man vapour and extoll Himselfe, that from his tongue both armes and Arts will troll:3 If he be in his Ale, no man comes neare him, 3

Troll: sing.

146

cervantes in seventeenth-century england Provided you’l believe him when you heare him, His Travels then will mighty volumes fill, Beyond our famous Sir John Mandevill. And to his reputation ’twere a blot, To put him in the rank of Don Quixot.

(p. 13)

The apocryphal writer John Mandeville, presumably a great traveler in the earlier fourteenth century, may have been the creation of one Jean d’Outremeuse. 235. Vaughan, Thomas, The Second Wash: or, The Moore Scour’d Once More, Being a Charitable Cure for the Distractions of Alazonomastix. V154. UMI 1558:49 In response to an attack by Henry More in The Second Lash of Alazonomastix (1651), Vaughan mentions Cervantes, alluding to Don Quixote, 2.25: To reply to his Frolicks as he calls them, were to bray to an Asse, like the Aldermen in Cervantes: it is a degree of Madnesse to imitate one that is so, and I love not a Bedlam4 so well, as to make one for company. It is my intention to justifie the Truth, not my selfe. (p. 3; sig. B2r )

As Rudrum (Works, 696) notes, there may also be a borrowing from the 1620 translation of Cervantes’s “al enemigo que huye, hazerle la puente de plata” (DQ 2.58): “To a flying Enemy a Silver Bridge” (p. 395): It is a maxime of the Camp, A Silver Bridge for a flying Enemy. (p. 37; sig. D3r )

4

Bedlam: madman.

@

1652

#

236. B., J., Gent., The Knight Errant: Being a Witty, Notable and True Relation of the Strange Adventures of Sir William Hart, Now Prisoner in the Tower. B107. UMI (Thomason Tracts) 179: E.1370 (5) The remainder of the title indicates more fully the temper of this episodic little tale: “His severall exploits, cheats, and most witty tricks by him acted ever since his first beeing untill his proclaiming the SCOTCH KING at WORCESTER, In August last.” This is a mock-biography of a picaresque rogue who is the orphan offspring of Scottish invaders of Ireland. Rescued and reared by “Solan Geese,” young William is later taken in by a fisherman (whose daughter he makes fruitful) and compelled to flee into the lowlands. There he is “entertained by a Mosse Trooper to be a Sub-Cow-stealer” (sig. A4r ). Eventually William himself becomes a famous moss trooper (a raider of the bogs on the borders between Scotland and England). After various adventures he goes to practice his tricks in Worcester, where “the Scotch King” arrives, and “our Knight proclames him at the market Cross” (sig. B4r ). Actually Charles II was crowned at Scone on 1 January 1651, and on 22 August that year he did, indeed, enter Worcester—where his army was virtually annihilated. In the first line of the verses introducing the story, the author names the Spanish pícaro Guzmán de Alfarache. Lazarillo de Tormes, the first of the famous Spanish pícaros, is the subject of the third and fourth lines. And these two passages together sandwich a line that refers to Don Quixote (DQ 1.8): Guzman is famous through the world, for tricks that he hath plaide, Quixot is like renownd for Jousts, against the Wind-mils made, With other his adventures strange, poor Lazarillo too Is sung amongst the Spanish Bards for feats that he did doe. . . . . . . . . . . Yet in praises of our Errant Knight, with me they’l bear a part, And all submit in feats of wit, to our Sir William Hart. (sig. A2r )

237. Brathwaite, Richard, History Surveyed in a Brief Epitome: or, A Nursery for Gentry. B4266. UMI 1565:7 For a reference to Don Quixote as a witty work, see B4265 (1651); in this edition, the passage is found on pp. 345–6. 238. Burton, Robert, The Anatomy of Melancholy. B6182. UMI 1378:16 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 282.

148

cervantes in seventeenth-century england

For a reference to Dulcinea in a passage about alluring women, see STC 4163 (1638); in this edition, the passage is found on p. 522. 239. Cervantes Saavedra, Miguel de, The History of the Valorous and Witty-Knight-Errant, Don-Quixote, of the Mancha. C1776. UMI 592:1

The title page of this edition of both the first and second parts of Don Quixote notes that it was “Translated out of the Spanish; now newly Corrected and Amended” (see Fig. 12). The introductory matter for pt. 1 reproduces Thomas Shelton’s 1612 dedicatory epistle addressed to Lord Walden, and the introductory matter for pt. 2 reproduces Edward Blount’s 1620 dedication to Buckingham. 240. Cervantes Saavedra, Miguel de, attrib., The Troublesome and Hard Adventures in Love. C1781. UMI 58:18 The title page of this work claims erroneously that it was originally “Written in Spanish, by That excellent and Famous Gentleman, Michael Cervantes; and Exactly Translated into English, by R. C. Gent.” Moreover, the dedicatory epistle to James Compton, Earl of Northampton (himself a busy writer), elaborates on this claim: My Lord. I have read that great Princes have stooped so low from the height of their power, that they have vouchsafed their Princely favour to the most abject of their people. . . . The consideration of this hath imboldned [sic] me to prefer these papers to your Honours acceptance and protection. The subject is light, for it treats of love; but so interwoven with stories of heroical resolution, & examples of high perfection that you can read nothing in this nature more profitable or delightfull. The Author was by birth a Spaniard, the same Gentleman that composed Guzman de Alfarache, and the second part of Don Quixot, who in all his writings hath made it as much his study as his mirth, to represent and deride the vanity of those bold inventors, whose wild glory it hath been, not onely to impose upon, but to torment the imaginations of their readers; and instead of possibilities to fill their fables and the world, with Gyants and with Monsters. The Spaniard (I know not by what fate) is more happy in his prose then in his verse, whether his Cuentaes cannot so well be taught to run in numbers, or whether the Genius of that Nation is more promptly inclined to expresse it self in Prose then in Verse. Howsoever though he differs in the manner, yet he agrees in the substance, for as the incomparable Sir Philip Sidney truely observes, it is not the rime but the invention that crowns the Poet, and verse doth no more make a Poet, then a gown doth a Lawyer.1 (sig. A3r–v )

Obviously plumping up and garbling the matter of authorship, the writer of the dedication in effect credits the work itself not only to Cervantes but also 1

Sidney, A Defence of Poetry, in Miscellaneous Prose of Sir Philip Sidney, ed. Katherine Duncan-Jones and Jan Van Dorsten (Oxford: Clarendon Press, 1973), 81–2.

1652

149

12. This title page of the 1652 edition reverts to the original title of Thomas Shelton’s Don Quixote, Pt. 1. Now combining both the first and second parts of Cervantes’s translated work, the volume was printed for the bookseller Andrew Crooke, operating at the Green Dragon in Thames Street. The not entirely scrupulous Crooke is probably best remembered now for acquiring a manuscript of Thomas Browne’s Religio Medici and publishing it without Browne’s knowledge. The printer, Richard Hodgkinson, has decorated the page with both a crowned thistle (Scotland) and a crowned harp (Ireland). If not merely decorative, these devices may have been intended to intimate the widespread appeal of the text within.

150

cervantes in seventeenth-century england

to Mateo Alemán (author of Guzmán), and maybe even the author who wrote under the name Alonso Fernández de Avellaneda. Whoever he was, the latter wrote the first of the continuations of Don Quixote. And whoever composed the dedication to The Troublesome and Hard Adventures, the printer, Bernard Alsop, clarifies matters at least slightly by observing in some prefatory remarks that within the romance “many Histories are recorded among which, though some are inserted that have been written by others before, yet were never seene in English till now” (sig. A4v ). The fact is that Adventures in Love had appeared in the Stationers’ Register almost sixty years earlier—that is, well before the first publication of Don Quixote in any language. On 15 June 1594 there was “Entred for his [Thomas Creed’s] copie under th[e] [h]ande of master warden Cawood/ a booke intituled The Troublesom and hard adventures in love with many fyne conceyted sonnettes and pretty poems delightfull to the reader/ written in Turkey by R. C.” (Arber, Transcript, 2:654). While it appears that this book was subsequently published in or about 1594 (the British Library has a fragmentary copy), the only complete copies now extant are dated 1652.2 241. Crouch, John, ed., Mercurius Democritus. Numb 2. N&S 307.2. UMI (Thomason Tracts) 101: E.659 [25]

This mock journal is presented as “a true and perfect nocturnall, communicating wonderful news out of the world of the moon, the Antipodes, Tenebris, Fary-land, Egypt, Green-land, and other adjacent countries. Published for the right understanding of all the mad-merry-people of Great-Bedlam.” And this issue for 7 April–14 April 1652 begins with an invocation of Don Quixote, refers to Sancho Panza, and alludes to Rocinante while making sport of contemporary events: Great Donquixsott, lend me thy Steed, thy courage bold infuse, Of Sanco’s help I shall have need, lest Gyants me abuse. HEavens shield me, what Monsterous beast is this? Sanco, lend me an earthen fire-fork to encounter him withall. (p. 9; sig. B1r )

242. Ford, John, Comedies, Tragi-Comedies, & Tragædies. F1466A (1652). UMI 2723:3

For a likely allusion to Don Quixote, 2.26 in The Ladies Triall, see STC 11161 (1639); in this collection, the play is the seventh gathered, and pagination is the same. 2

See Dale B. J. Randall,“The Troublesome and Hard Adventures in Love: An English Addition to the Bibliography of Diana,” Bulletin of Hispanic Studies 38 (1961): 154–8.

1652

151

243. Heylyn, Peter, Cosmographie in Four Bookes. H1689. UMI 105:1 Probably his best-known work, Heylyn’s Cosmographie is a greatly expanded version of Microcosmus (1621). Here in an appendix “Endeavoring a Discovery of the Unknown Parts of the World,” in a section on imaginary lands (Utopia, New Atlantis, Faerie Land, etc.), Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona (DQ 1.29 et seq.), as well as to Sancho Panza’s island of Barataria (DQ 2.45–53): THE LANDS OF CHIVALRIE are such Ilands, Provinces, and Kingdoms in the Books of Errantry, which have no being in any known part of the World and therefore must be sought in this. A gross absurdity but frequent in those kind of Writers, who in describing the Adventures of their Knights, in despight of Geographie (with which indeed they had no acquaintance) have not only disjoyned Countries which are neer together, and laid together Countries which are fare remote; but given us the description of many Ilands, Provinces, and mighty Kingdoms, which as the ingenious Author of the History of Don Quixot, merrily observeth, are not to be found in all the Map. Of this sort is the Isle of Adamants in Sir Huon of Burdeaux . . . and many other of that kinde in the Mirrour of Knighthood ; and divers of like nature in Palmarin de Oliva, Primalion, and Belianis of Greece, Parismus, the Romance of Romances,3 and indeed who not of all that Rabble? Handsomly humoured by Michael de Cervantes in his Iland of Barutaria [sic], of which the famous Sancho Panca was sometimes Governour, and the Kingdom of Micomicona. And yet I cannot but confess (for I have been a great student in these Books of Chivalrie) that they may be of very good use to Children or young boys in their Adolescency. For besides that they divert the minde from worse cogitations, they perfect him that takes pleasure in them in the way of reading, beget in him a habit of speaking, and animate him many times to such high conceptions as really may make him fit for great undertakings. (pp. 196–96 [sic], 4th pagination; sig. Bbbbb3v –4r )

Other editions: H1690 (1657), pp. 1094–5 (sig. Hhhhh5v –6r ); H1690a (1665), pp. 1094–5 (sig. Hhhhh5v –6r ); H1691 (1666), pp. 1094–5 (sig. Aaaaa3v –4r ); H1691a (1667); H1692a (1669), pp. 161–2, (4th pagination, sig. V4r–v ); H1693 (1670), pp. 1094–5 (sig. Hhhhh5v –6r ); H1694 (1674), pp. 161–2 (3rd pagination, sig. V5r–v ); H1694a (1674), pp. 161–2 (3rd pagination; sig. V5r–v ); H1695 (1677), pp. 161–2 (4th pagination; sig. V5r–v ); H1696 (1682), pp. 161–2 (4th pagination; sig. Bbbbbb1r–v ). 244. Inventory of the Earl of Ormonde’s Goods and Chattels at Kilkenny Castle Eventually created Lord Lieutenant of Ireland and 1st Duke of Ormonde, James Butler (1610–1688) was born and reared in England, designedly distant from the Catholic milieu of his ancestors in Ireland. In this and many other ways Butler 3

Romance of Romances: Whatever else Heylyn may have had in mind here, Emanuel Forde’s Parismus would prove to be one of the most popular books of its day, appearing some twenty-four times (including four abridgments) during the century.

152

cervantes in seventeenth-century england

proved to be a good courtier to serve both Charles I and Charles II. Despite the fact that he and his wife, Elizabeth Preston Butler (1615–1684), were among the wealthiest landowners in the kingdom, both had to endure difficult times. In December 1650, Butler sailed to exile on the continent and his wife set out for Ireland. Details are lacking, but an inventory compiled a couple of years later for Kilkenny Castle, one of the Ormondes’ major properties, listed a good many tapestries. Beyond their value as works of art and manifestations of status, tapestries were valuable to the Ormondes (as Jane Fenlon points out) because of their “journeys back and forth across the Irish Sea” and because tapestries “could be taken down, rolled, transported, and put up again, all without too much damage.”4 The Kilkenny inventory of 1652 includes a set of “New Tapestrys [sic] hangings” concerning, in the words of Heinrich Göbel, “fünf Teppichen bestehende Geschichte des Don Quijote.”5 With relatively few facts to go on, Phyllis Ackerman has thought it “highly probably” that these five Quixote tapestries comprised a set of witty, energetic, Baroque pieces from a shop in Enghien, Belgium, and might “even be tentatively assigned to Cornelius Schut, the Elder (1597–1655).” 6 245. Manuche, Cosmo, The Bastard: A Tragedy. M548. UMI 870:12 Manuche (1613–1673?) was a playwriting soldier who served the royal cause as a captain and major of foot from the beginning of the Civil Wars to their close— for which service he was imprisoned and impoverished. Here in his Bastard, in the second scene of the second act, in a conversation between Don Præpontio and his servant Rubio, the foolish gallant compares himself not only with Don Quixote but also with Céspedes y Meneses’s Gerardo and Alemán’s Guzmán— all of whose adventures were by this time available in English versions. Bragging that his countenance displays as much love as Don Quixote’s, Don Præpontio asks: Præ. Does not the superficies of my countenance demonstrate as much love as Don Quixot’s, or Gerardo’s, the unfortunate and ominous Spaniard? am not I kin to the Family of the Guzmans, think you? Rub. Alias, Goosman; alias, Goodman Goose. (aside) Præ. And am I not the most acute, compleat, polite Itinerator that ever caper’d over the Alps, and the Pyrenæan mountains, and the most sublime and ingenious Poet that ever drank of the Heliconian, Castalian, and Pierian Fountains: Have not I sixteen languages exactly, perfectly, and perspicuously. (pp. 23–4) 4 5 6

Fenlon, The Ormonde Picture Collection (Kilkenny Castle and Dúchas: Heritage Service, 2001), 31. Göbel, Wandteppiche, vol. 1 (Die Niederlande) of 3 vols. (Leipzig: Verlag Von Klinkhardt and Biermann, 1923), 216. Ackerman, “Five Baroque Don Quixote Tapestries,” Art Quarterly 10 (1947): 198–9.

1652

153

246. Mercurius Phreneticus. M1768aA. N&S 356.2. UMI (Thomason Tracts) 101: E 659 [12]

In the second issue of this mock news journal, the author (perhaps Samuel Sheppard) begins with verse in which he refers to Don Quixote’s tilt at a windmill (DQ 1.8): Was’t ever read in History before, That jumping Gill should call her dame a Whore? A Whore? Not she: she was a Bawd well try’d; Kept Stews:7 at last, of the Green sickness8 dy’d. When Don Quixot the Windmill charg’d in teen, 9 The tough enchanted Spear in flenders10 flew: At which enrag’d, he scratch’d his breech I ween, And stoutly forth his Durindana drew.

(p. 9)

Whatever the author implies in these final lines, he turns for effect to the name of Orlando’s (i.e., Roland’s) sword—which is mentioned also in DQ 2.36. 247. Randolph, Thomas, Poems. R242. UMI 1534:10 For a reference to the fame of Don Quixote the Knight Errant and an allusion to Dulcinea in The Conceited Pedlar, see STC 20686 (1630); in this edition, the passage is found on p. 42, 4th pagination (sig. P6v ). Another edition in 1652: R243 (UMI 1534:11), pp. 41–2, 3rd pagination (sig. P6r–v ). 248. Skinner, Stephen, “Upon a Book Written by Mr. Stokes of the Art of Vaulting,” in William Stokes’s The Vaulting Master: or, The Art of Vaulting. S5728. UMI 1558:5 For a reference to Rocinante and an allusion to DQ 2.40–41, see S5727 (1641); in this edition, the passage is found on sig. B1r . 249. Vaughan, Thomas, Aula Lucis: or, The House of Light. V144. UMI (Thomason Tracts) 254: E.1367 [5]

In an epistle addressed “To the present Readers,” Vaughan writes not only of university-based English Quixotes but also of “the famous [Spanish] Don” and his mistaking a brass basin for a gold helmet (DQ 1.21): To be short, if you attempt this discourse, you doe it without my advice, for it is not fitted to your fortunes. There is a white Magic this book is inchanted withal: it is an adventure for Knights of the Sun, and the Errants of this time may not finish it. I speake this to the Universitie Quixots, and to those only who are ill-dispos’d, as well as ill-disciplin’d; there is amongst them a generation of Wasps, things that will 7 8 9 10

Stews: brothels. Green sickness: chlorosis—but a bit odd here because it usually affects pubescent young women. Teen: either “in anger” or “to cause injury” (OED). Flenders: i.e., flinders, fragments or splinters.

154

cervantes in seventeenth-century england

fight though never provok’d: These buckle on their Logick as proof, but it fares with them, as with the famous Don, they mistake a Bason for a Helmet. (sig. A4r )

Near the end, as Rudrum notes (Works, 712), there is also a reference to “Rozinant” and “Dapple,” perhaps an allusion to their habit of mutual neckscratching (DQ 2.12). Vaughan writes: The Tutor Dedicates to his Pupill, and the same Pupill versifies in Commendation of his Tutor. Here was a Claw, there was never any so Reciprocall: Sure Rozinant and Dapple might learne of these Two. (p. 27; sig. C8r )

250. Vaughan, Thomas, The Fame and Confession of the Fraternity of R: C: Commonly, of the Rosie Cross. F350a. UMI 2354:20 As Rudrum notes (Works, 715), in “The Preface” of this anonymously published work, Vaughan may allude to a commendatory sonnet by “Alphebo” in Shelton’s translation; that is, to the Caballero del Febo, a hero featured in the Espejo de príncipes y caballeros by Diego Ortúñez de Calahorra. He certainly refers to the ongoing “library” theme that begins in Don Quixote, 1.1, comes to the fore in 1.6, and recurs throughout: [S]ome of you [readers] may advise me to an Assertion of the Capreols11 of del Phæbo, or a Review of the Library of that discreet Gentleman of the Mancha, for in your Opinion those Knights and these Brothers are equally Invisible. (sig. a1v )

251. W., J., Brandy-Wine in the Hollanders Ingratitude. W45. UMI (Thomason Tracts) 103: E.672 [5]

The year 1652 marked the opening hostilities of what in later times would be called the First Anglo-Dutch War. In May, near Dover, action broke out between Admiral Robert Blake and Admiral Martin Tromp. Other encounters took place in August and September, and in November Blake was compelled to retreat to the Thames. According to the title page of Brandy-Wine, the verse at hand is intended as A serious Expostulation of an English Souldier with the Dutch; Wherein he debateth with them of former kindnesse receivd from England, and the Cause of their base requitall now, being so effascinated with Machivels Pollicies, that they are foolishly charm’d with the Magicall Spells of Monarchy, To subvert their owne fundamentall Principles, that engage in a Warre against England, to the ruine of her owne Liberties.

Identifying himself only as “J. W. Musophilus & miles veritatis,” the author makes his point in part by turning to the derogatory nickname “Specke-Jan.” More or less parallel to modern “Limey” or “Frog,” the term refers to both the Spanish and the Portuguese (clearly the former in the present case), men who are presumably no match for the likes either of the Dutch statesman Johan van 11

Capreols: a capriole, taught to a trained horse, is a leap upward but not forward. Sometimes the term was applied to both horse and rider.

1652

155

Oldenbarneveldt (a vigorous opponent of Spanish tyranny) or of Sir Horace Vere or Sir Philip Sidney.12 J.W. writes: Thou’hast heard, and seen our English-armes, were spred For thy defence, that when thou wert even dead With those fierce lookes, Specke-Jan, did cast at thee, (Threatening to root up quite the Orange-tree.13 ) When with Mustachios starcht, hee lookt as bigge As Don Quixot, and valued not a Figge Thy Barnevelt, (had not our gallant V e r e, And most renowned S y d n e y, still been there With thousands moe brave English.) (sig. A1v ; p. 2)

12 13

Woordenboek der Nederlandsche Taal, vol. 14 (’s-Gravenhage, etc.: M. Nijhoff, etc., 1882–1998), col. 2667. “Orange-tree” refers to the great house of Orange. Charles I’s oldest daughter, Mary, wife of William, Prince of Orange, had brought forth a son, William (1650–1702), during a period when the family was for various reasons weakened. Eventually this younger William would be not only Prince of Orange, but also King of England, Scotland, and Ireland.

@

1653

#

252. Beaumont, Francis, Poems. Second edition. B1602. UMI (Thomason Tracts) 170: E.1236 [3]

In a poem, “To the Mutable Faire,” first printed in Waller’s Poems &c. (1645), there is a reference to Don Quixote’s fight with a windmill (DQ 1.8); in this edition, the passage is found on sig. F6v . Why Waller’s verses were printed with Beaumont’s Poems is a mystery. Another edition in 1653: B1603 (UMI Thomason Tracts 186:E.1455[3]), sig. F6v ; Another edition: B1604 (1660), sig. F6v . 253. Bibliotheca Parliamenti. Classis Secunda. Done into English for the Assembly of Divines. B2845B. UMI (Thomason Tracts) 108: E.702[8] This mocking satire on the Commonwealth in the form of a bookseller’s catalogue is sometimes erroneously attributed to John Birkenhead because of its resemblance to his Paul’s Churchyard, part 3 (1659). Whoever the author or publisher may have been, his thirty-eighth entry was intended to touch a sensitive sectarian nerve. It reads: Christianographia Britannica, or a continuation of the famous history of the Knight Don Quixot, in the exemplary lives of the two Arch-Priests-Errant, Vavasor Powel, and William Cradock. (p. 4)

The two men named here were both powerhouse Welsh preachers of their day. “William Cradock” is almost certainly a misprint for Walter Cradock (c.1606– 1659), an evangelistic minister who is said to have been so “pre-eminent . . . that the Welsh Puritans were called ‘Cradocians.’ ”1 And Vavasor Powell (1617– 1670), a fiery evangelist and pastor who gravitated to London when the Civil War broke out, eventually was commissioned by the Westminster Assembly to return to Wales and carry out the Puritan reformation there. He managed to dislodge a good many of the Anglican clergy and replace them with Puritans, but when the Restoration of the monarchy came about, Powell is said to have been the first Puritan to be imprisoned (Milton, “Pastoral Predicament,” 526). From a royalist perspective, both men were indeed “errant.” Another edition in 1653: B2845C (UMI 1772:21, as B2964A and attributed to Birkenhead), p. 6. 1

Michael A. Milton, “The Pastoral Predicament of Vavasor Powell (1617–1670): Eschatological Fervor and Its Relationship to the Pastoral Ministry,” Journal of the Evangelical Theological Society 43 (2000): 524.

1653

157

254. Birkenhead, John, Two Centuries of Pauls Churchyard. B2973. UMI 446:12

Sir John Birkenhead (1616–1679), some years after writing most of the royalist journal Mercurius Aulicus (1642–5), went into exile with Prince Charles (1648) and was knighted in 1649. As Knowles notes (nos. 27, 28, 29), there are several allusions to Don Quixote in this “Libri Theologici, Politici, Historici, Nundinis Paulinis (una cum Templo) prostant venales.” A scrappy and wouldbe witty commentary on mid-century strife in England, it offers such queries as “Whether the Nobility are not bound to turn Souldiers, when most of their houses at London are made Garisons?” In Classis IV (“Casuists resolving Tender Consciences in these 40. Quaeres”), Birkenhead alludes to Don Quixote, 1.22: Whether to shake off Allegiance for Christian Liberty, were not Don Quixot’s argument to turn loose the Gally-slaves, because God and Nature made them free? (no. 70, p. 16)

In no. 98, there is an allusion to Don Quixote, 1.6: When they burnt Don Quixot’s Library, they did wisely to burn all Translations; & if the like were done now, whether there would not be a most lamentable fire? (pp. 20–1)

In Classis VI (“Twenty new Acts of Parliament”), no. 135, there is an allusion to Cervantes: An Act that the author of Don Quixot shall explain whom he means by the Parliament of death. (p. 29)

Actually the explanation is that in Don Quixote, 2.11 Cervantes’s hero encounters a troupe of actors traveling between one village and another in order to perform The Parliament of Death (i.e. Las cortes de la muerte) as part of the celebration of Corpus Christi (see Fig. 13). John Rutherford suggests that Cervantes may have had in mind Lope de Vega’s Auto sacramental de las Cortes de la Muerte.2 Continued with title Paul’s Church-yard : B2970 (1659), Thomason Tracts 104:3675[12]. None of the preceding references appear here. 255. Bulwer, John, Anthropometamorphosis: Man Transform’d: or, The Artificial Changeling. B5461. UMI (Thomason Tracts) 108: E.700[1] Concerned in his various writings with the human body as a communicator, Bulwer (1606–1656) in Anthropometamorphosis focuses on self-made deformations. Here, in a commendatory poem by “E. G. Ac. Oxon. A.M.” (probably 2

Rutherford makes this observation in his translation called The Ingenious Hidalgo Don Quixote de La Mancha (Harmondsworth, Middx.: Penguin Books, 2001), 1007.

158

cervantes in seventeenth-century england

13. Don Quixote and Sancho here encounter a cart led by a demon and accompanied by a fool. The riders include Death, an angel, a crowned emperor, Cupid, and others. In short, they are a troop of traveling players (DQ 2.11). This picture is the upper one of two on the verso of the leaf facing p. 295 in John Phillips’s The History of the Most Renowned Don Quixote of Mancha (1687). Phillips writes: “So strange a Spectacle as this, surprizing our valiant Champion, put him into a cold Sweat, and his hair stood an [sic] end with that force as to lift up his Helmet two inches above his Scull; and as for Sancho, you might ha’ smelt him with the Wind i’your Teeth, above a Furlong and a half ” (p. 339).

1653

159

Bulwer’s friend Edward Goldsmith), there is a reference to Don Quixote that is not found in the first edition in 1650: The World is Topsie Turvy turn’d, Chim-Cham Ere since Disguised Noah, and Curst-Ham:3 Without Inchantments, or Romances food Each man’s a Quixot, and oth’ errant brood. We first transforme our fancies, then our Bodies, And are most sober and most vigilant Noddies. 4 (sig.


1v )

256. Céspedes y Meneses, Gonzalo de, Gerardo the Unfortunate Spaniard. C1783. UMI (Thomason Tracts) 253: E.1234 [1] For a probable allusion to Cervantes, see Leonard Digges’s dedicatory letter to the Earls of Pembroke and Montgomery in STC 4919 (1622); in this edition, the passage is found on sig. A3r . 257. Cleveland, John, Poems by J. C. with Additions Never before Printed. C4688. UMI 734:4 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on pp. 33–4. For a reference to Don Quixote’s fight with a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 90. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 95. Another edition in 1653: C4689 (UMI 658: 6), pp. 33–4, 90, 95; Another edition: C4689a (1654), pp. 38–9, 90, 95. 258. Crouch, John, Mercurius Democritus. Numb. 52. N&S 307.52. UMI (Thomason Tracts) 107: E.691 [19]

In the issue for 13–20 April 1653, a reporter tells of a scuffle between an upholsterer and a button-maker, and in passing he compares the button-maker’s bravery to Don Quixote’s: The couragious Button-maker . . . thrust at anyone he heard to come neer him (Donquicksott being a meer Coward to this try’d and approved Champion). (p. 415; sig. Ff4r ) 3

4

Since “The World is Topsie Turvy,” one may the more readily understand why Noah curses his son Ham, not Canaan as the Bible has it (Genesis 9:25). As for Noah’s disguise, the biblical passage is remembered best for Noah’s nudity (9:21–3). Noddies: fools.

160

cervantes in seventeenth-century england

259. Daniel, George, Idyllia Daniel (1616–1657) is said to have written Idyllia in 1650 and revised it in 1653, but the volume was not published until 1878. In Idyll 5, he describes a “discerning man” ironically as one who reads and is influenced by Don Quixote; we thereby glimpse Cervantes’s popularity even among those without great discernment. [H]ee’s now a Protestant, But lest Religion too much wrong his breeding, And Revealations take him from his reading; He comes, the moderne entertains, by Roat; Takes from Illustre Bassa,5 Don Quixot; These passe him, wth the Ladies; where hee’le lard 6 It Better Languages, anything that’s hard.

(ll. 62–8) 7

260. Denham, John, Certain Verses Written by Severall of the Authors Friends: To Be Re-printed with the Second Edition of Gondibert. D991. UMI 866:3 As Knowles notes (no. 30), there is an allusion to Dulcinea of Toboso in commendatory verses composed by Sir John Denham and addressed to Sir William Davenant: And for the Damsel, he did Wooe so, To say the truth, she was but so-so, Not much unlike her of Toboso. (p. 3)

Another edition in 1653: D992 (UMI 2480: 19), p. 3. Also found in: Merry Drollery: or, A Collection of Jovial Poems, Merry Songs, Witty Drolleries. The First Part. M1860 (1661), p. 113. See also: Davenant’s Gondibert, 2nd edn., D326B (1651). 261. The History of Cardenio In an entry of the Register of the Company of Stationers of London for 9 September 1653 (Eyre and Rivington, Transcript of the Registers, 1:428), this title of a play apparently alludes to a character and his story in Don Quixote: “The history of Cardenio by Mr Fletcher & Shakespeare.” See main entry here under 1612, Fletcher and Shakespeare. 5

6 7

Illustre Bassa: bassa is an early form of pasha, and Ibrahim ou L’illustre Bassa (1641) was a four-volume narrative written by Madeleine de Scudéry and published under the name of her brother George. It was translated to English by Henry Cogan in 1652. Lard: garnish, intersperse, interlard with (OED). This transcription is from Alexander Balloch Grosart’s edition of The Poems of George Daniel, vol. 4 of 4 vols. ([Boston, Lincs.]: Printed for private circulation only [by Robert Roberts], 1878), 231.

1653

161

262. A Letter of Intelligence from the Hague. A Collection of the State Papers of John Thurlowe 8 After he was appointed Secretary to the Council of State about the beginning of April 1652, John Thurloe (1616–1668) received intelligence reports on behalf the Council. Among his collected papers is an anonymous letter dated 14 November 1653 from a spy in the Low Countries. The writer of this letter reports that William, Count of Nassau, has recently gone to Rotterdam to see an underwater “machine” that has been invented by a French engineer named DeSon. The latter was apparently complaining that the whole process of building the submarine was advancing very slowly because of working conditions. DeSon, nevertheless, continued to have high hopes about achieving ultimate success with a two-ended, half-submersible warship “powered by a ‘resort,’ or spring, which was said to be capable of running the vessel for eight hours.”9 The intelligence agent, however, seems to have had his doubts and turns for examples to Don Quixote and Amadis de Gaul. He writes: Don Quixote had cause to maintain, that an Amadis of Gaul was worth more than [an] army of one hundred thousand men, for the Frenchman doth promise so likewise of the machine to do more than one hundred men of war.10

As things turned out, this so-called “Rotterdam Boat” would not be ready for presenting to the Belgian government until 1654. Not until then did it prove to be a failure (Roland, Underwater Warfare, 42). 263. The Mad-Merry Merlin: The Black Almanack. A1931. UMI (Thomason Tracts) 112: E. 725 (1)

This mockery of almanacs contains “Strange Observations, and Monthly Prognostications, pointing to a clear discovery of what was, is, and shal come to pass, in the ensuing Year of our Lord, 1654” (title page). The author alludes to DQ 1.8: May ushers in with a scene of Love, at last is crost by a Scottish Jove. . . . Thus the Quixots of this Age fight with the Windmils of their own heads; quel monsters of their own creation; make plots, and then discover them. (p. 4)

264. Middleton, Thomas, and William Rowley, The Spanish Gipsy. M1986. UMI 75:6 Dating back at least to 9 July 1623, when Sir Henry Herbert granted a license for it, this tragicomedy seems not to have been published until 1653. In 1691 Langbaine wrote that it was indebted to Cervantes insofar as “The Story of 8 9 10

Ed. Thomas Birch (London, 1742), 571–2. Alex Roland provides this description and a picture of the ill-fated vessel in his Underwater Warfare in the Age of Sail (Indiana University Press: Bloomington, 1978), 43. In a letter dated 19 December 1653, another intelligence agent identifies the Frenchman: “le Sr. Desson à Rotterdam a inventé sa machine pour ruiner cent vaisseaux Anglois en un jour” (Birch, Collection of State Papers, 629).

162

cervantes in seventeenth-century england

Rodrigo and Clara, has a near resemblance with (if it be not borrow’ed from) a Spanish Novel, writ by Miguel de Cervantes, call’d The Force of Blood ” (An Account, 373). Much more recently G. E. Bentley has written: “The sources of the play are two stories of Cervantes, ‘La Gitanilla’ and ‘La Fuerza de la Sangre,’ published in Madrid in 1613 in his Novelas Exemplares. . . . No English translation is known before the license of The Spanish Gypsy, though a French translation by De Rosset had appeared in Les nouvelles de . . . Cervantes in Paris, 1613–14” ( Jacobean and Caroline Stage, 4:895). Other editions: M1987 (1661); M1988 (1661). 265. Sorel, Charles, The Extravagant Shepherd: or, The History of the Shepherd Lysis. S4703. UMI 1341:7 Le Berger extravagant (1627) by Charles Sorel, Sieur de Souvigny, is a parody of Honoré d’Urfé’s long pastoral L’Astrée (I–V: 1607–27). When the time came for the translator John Davies (1625–1693) to put forth his English version of Sorel’s much more racy work, he equipped it with an epistle to the reader wherein he refers to the main character, Lysis, taking umbrage at being compared to Don Quixote: Lysis takes it not well to be compar’d to Don-Quixot, for extravagant as he is, he thinks himself wiser then that Knight. (sig. b2r )

In a later passage of his remarks to the reader, Davies forewarns that Lysis discovers [i.e., reveals, sets forth] a most ridiculous humor of the Romances, where you have a silly young girl, that haply was never out of her mothers sight, upon the first [sight] of a Lover, become so bold, that she will travel over the world with him. (sig. d1v )

And subsequently in “The Eleventh BOOK,” Lysis declares “We will carry her into some strange Country till our friends shall agree to the match,” to which one friend responds more or less discreetly “But in the mean time . . . will you take nothing of her by way of advance?” (p. 15). What a proposition dost thou make? saies Lysis, that’s a thing Pamphilus would never do to Nisa, Persiles to Sigismonda, Lisander to Calista, Polexander to Ericlea; and to go a little higher in the Chronology, what Clitophon never did to Leucippa, nor Theagenes to Chariclea: All these Lovers had about them a modesty which kept them from asking any other favours of their Mistresses then kisses. (p. 15)

In other words, Lysis cites a half-dozen pairs of lovers, the second one being the chaste hero and heroine of Cervantes’s final fiction, seldom noted in England, the Heliodoran romance of Los trabajos de Persiles y Sigismunda, historia setentrional (1617).11 11

The other five couples appear, in order, in another work in Spanish, El peregrino en su patria (1604), by Spain’s great playwright Lope de Vega Carpio; two works in French, Histoire trage-comique de nostre temps, sous les noms de Lysandre et de Caliste (1620), by Vital D’Audiguier, and Polexandre (final

1653

163

In bk. 4, there is a reference to Don Quixote’s relationship with Dulcinea as well as to Don Quixote’s latter-day thoughts of becoming a shepherd and leading a pastoral life (DQ 2.67, 2.73). Both this and part of the general response to the extravagancies of romance are found in the following passage, a conversation between Lysis and Fortenay: What an importunate fellow art thou? says Lysis: seest thou not I am a Shepherd ? . . . I tell thee, that I am not of the number of those rusticks whose residence are the fields: I am of those whose histories are committed to Romances which are every day made; and whose actions are represented by the Players on their stages. In good faith Master (saies Fortenay, who could conceal nothing he knew) I think you are the successor of Don-Quixote of Manca, and that you have inherited his folly. After he had been Knight-Errant, he would be a Shepherd, but he dyed in the design; and I believe you would be Shepherd in his stead, and continue his extravagancies. You lye, says Lysis, and I do nothing but of my own invention, I never imitated him you speak of; and if I have read his history, it hath been by the way. He was a fool, who imagin’d himself a Lover of Dulcinea, when he had never seen her: whereas I have the advantage to converse with Charite every day. He understood nothing of the soveraign felicity. ’Tis not in Armes it will be found, there is nothing but trouble, and the minde thereby becomes brutish: ’Tis in keeping of Flocks, that there is profit and pleasure. (p. 106, 1st pagination)

And in bk. 14, there is still another reference to Don Quixote, wherein Clarimond (who is against poetry, fables, and romances) urges Lysis to give up his romantic notion of being a shepherd: Remember what Fontenay did one day cast in your teeth, when he compar’d you to Don Quixot; there will be many who will not stick12 to believe you imitate him, and when your adventures shall transcend him, they will be look’d on no otherwise then greater arguments of your madness. (p. 90, 2nd pagination; sig. Mmm1v )

Another edition: S4704 (1654), same pagination; S4704A (1660), same pagination. 266. Twisse, William, The Riches of Gods Love unto the Vessells of Mercy, Consistent with His Absolute Hatred or Reprobation of the Vessells of Wrath. T3423. UMI 117:1 William Twisse (1578?–1646) was a widely accepted, even admired, Puritan, partly because he was such an erudite and articulate theologian and partly because he genuinely sought reform rather than revolution in the English Church. The title page of this posthumous compilation, apparently edited by John Owen (1616–1683), describes him as “that Great and Famous Light of version, 1637), by Marin Le Roy, Sieur de Gomberville; and two Greek romances, The Romance of Leucippe and Clitophon (third century a.d.?), by Achilles Tatius, and Aethiopica (third century a.d.?), by Heliodorus of Emesta. 12

Stick: hesitate.

164

cervantes in seventeenth-century england

Gods Church . . . And Prolocutor of the late Assembly of Divines.” That is, he was presiding officer of the Westminster Assembly, which had been established by the Long Parliament in 1643 to consider church reforms. On two occasions in The Riches of Gods Love Twisse finds occasion to name Don Quixote. The first occurs under the running head “The Sublapsarian Doctrine not prejudiciall to Piety and a Godly life” in a section headed simply “Twisse Consideration.” Here he writes of God’s “decrees absolute, and decrees conditional,” affirming that we doe not acknowledge that Gods decrees of Salvation and damnation are absolute, but merely conditional; so that this author13 doth but fight with his own shadow in this his argumentation, making as shamefull a mistake as Don Quixot did, when he conceived the Barbars [sic] bason to be the Helmet of Mambrino, and fell furiously upon him, in a zeale of martial glory, to recover Spolia opima, so fat and rich spoyles.14 (p. 228, 1st pagination)

Twisse’s second reference to Don Quixote occurs in a section headed “An Answer to M. Mason’s Additions.” Twisse asks: And is it not evident by M. Hord’s acknowledgement, when he saith that men are made guilty of Adam’s sin, and of eternall death only by God’s decree? Which passage of M. Hord’s this Author hath razed out, and wipeth his lips, as if he had done no iniquity with his Index expurgatorius, not that he hath changed his opinion, as I verily thinke; but because he saw what a funestous15 blow it gave unto his cause in this particular: Yet is he magnified as a man unanswerable, none daring to take the bucklers16 against such a Don Quixot; But let the judicious consider this his practise well, & whether he be a man of such authority, as deserving that they should pin their faith on his sleeve, especially considering that he takes no notice of what I have answered to M. Hord. (p. 150, 2nd pagination)

13

14 15 16

Anonymous, by “an Author who conceales his Name, but was supposed to be Mr. [Henry] Mason [(1573–1647)] Rector of Andrews-Undershaft in London” (from Twisse’s title page), who Twisse believed had inserted certain passages into the writing of Samuel Hoard (1599–1658). Don Quixote’s attack on the barber (DQ 1.21) does, indeed, result in “Spolia opima”—capture of the richest of the spoils of a defeated enemy. Funestous: disastrous (OED). Bucklers: i.e., “to enter the lists, present oneself as a champion,” the buckler itself being a shield to ward off blows (OED).

@

1654

#

267. Cervantes Saavedra, Miguel de, Delight in Severall Shapes. Drawne to the Life in Six Pleasant Histories. C1770. UMI 134:9 A translation with six of Cervantes’s shorter fictions from Novelas ejemplares, this book made its debut in 1640 as Exemplarie Novells: in Sixe Books. While the texts of both the 1640 and 1654 volumes are the same, the latter makes no mention of either the now-deceased translator, James Mabbe, or of his pseudonym Diego Puede-ser. Equally telling, the new title is rather lighter than that of either Cervantes or Mabbe (Fig. 14). Furthermore, the author is now credited not only with fame but also with an “Elegant Pen,” and the original dedicatee is replaced with women who are presumably interested in “soft pieces of Pleasure.” In an epistle addressed “To the Ladies,” one reads: Give me leave to offer this Addition to those Innocent Delights, which are newly reviv’d to a Fashion in your Recreations; ’Tis presented with the greater confidence of your acceptation, because, as there are few of you that will not finde it a Mirrour to represent some of your owne Beautyes, either of Minde or Body, to your selves; so I dare promise, the nicest and most scrupulous vertue shall finde nothing here, that will inforce her modesty to put on its Scarlet mantle. Here are no knots of Language, that will give you any paines to unty; the sense will be as easily undrest as your selves; yet the designes are so finely woven and stuck with such a well-digested variety (the Author like a Cunning hawke, often seeming to fly from the Prey he intends to fly at) as your Expectations will finde it no easie task to take them by the right Ends, before they come at them. Before they chang’d their native habit, the choicest Judgements gave them such a Test, as a paire of our best Poets [in a side note: “Beaumont & Fletcher”] did not scorn to dress two of these Stories for our English Stage, and (were they yet alive) they might justly confesse that they gather’d some of the fairest Flowers of their Reputation, from our Authors Garden-plot. In summe, Vice is here display’d without a false complexion to hide its wrinkles, and represented ugly enough to make it odious: And, though he suffers Vertue to ride it out in some stormes, and exposes her to the persecutions of Fortune, yet he alwaies sets her safe ashoare, and never brings her off uncrown’d. When proofe has confirm’d this to you, I hope you will not disrelish the indeavours of (Ladies) A studious Servant to your Delights. (sig. A2r–v )

The stories are (1) A Storie of Two Damsels, (2) The Lady Cornelia, (3) The Liberall Lover, (4) The Force of Blood, (5) The Spanish Lady, and (6) The Jealous Husband from, respectively, in the Novelas ejemplares (1613), Las dos doncellas, La señora Cornelia, El amante liberal, La fuerza de la sangre, La española inglesa, and El celoso extremeño.

166

cervantes in seventeenth-century england

14. James Mabbe’s posthumous Delight in Severall Shapes (1654), a freshly titled version of his Exemplarie Novells (1640), was published by William Sheares at the sign of the Bible (pictured here) in Saint Paul’s Churchyard. In its new guise, it erroneously ennobles its Spanish originator as “that famous spaniard, Don Miguel de Cervantes Saavedra,” then in smaller type advertises him cannily as “The same that wrote Don Quixot”.

1654

167

268. Cleveland, John, Poems by J. C. with Additions Never before Printed. C4689a. UMI 734:5 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on pp. 38–9. For a reference to Don Quixote’s fight with a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 90. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 95. Another edition in 1654: C4690 (UMI 658: 7), pp. 38–9, 90, 95. 269. Gayton, Edmund, Pleasant Notes upon Don Quixot. G415. UMI 145:6

Edmund Gayton (1608–1666) was an Oxford man who in later life, in his book titled The Religion of a Physitian (1663), described himself as “at once a Captain, a Physitian, and a small Poet” (sig. A4r ). Seeming in maturity to have retained a carefree, jocular, collegiate attitude, Gayton was in fact improvident to the end. A year after publishing the lively work at hand, he was in debtor’s prison (DNB, 7:973–4). In an epistle “To the Candid Reader” he writes: Reader, Books of Knight Errantry, like the Knights themselves, looke for entertainment gratis; Don Quixot did oblige the places which received him, and left his Landlords in debt to him for his acceptance of their Courtesies: His stay was not long in place, and his Pay was the sport he made; The Castle had security for a Reckoning, and protection for the Bill of Fare; His Hosts were created Constables; His Hoastesses Countesses, and his Daughters Ladies, for the benevolence of Slippers, and Night-Caps: Oastlers were dubb’d Groomes, the Servants Squires, Tapsters Yeomen of the Bottles, and Skinkers,1 and so defray’d all with Acts of Grace, and conferring of Honour. He adventures now, as alwaies, with the same confidence of welcome, a Knowne Guest needs no Invitation; Reception is all he looks for, little or no Provisions. Give him now a good Looke (for indeed his Ill-favour’d Face wants it) and it is a Feast. Smile upon him, laugh at him, and he will grow fat, with what should make you so. Rosinante looks for your Tib-bee, and you shall have his Whi-bee;2 he is as freekish as if the Jack-an-Apes3 rode him. Sancho Pancha courts your Blanckets, and desires to be tossed from hand to hand; His Asse is for every one to ride, the more the merrier: If you give him Stable-room, ’tis well, he can feed on Thistles. 1 2 3

Oastlers and skinkers: oastlers (i.e. hostlers) were men who attended horses at an inn, and skinkers were those who drew or served liquor (OED). Tib: a girl, sweetheart, mistress, or strumpet, but Gayton probably would have liked to leave the paired terms to his readers’ imaginations. Jack-an-Apes: “Name for a tame ape or monkey” (OED).

168

cervantes in seventeenth-century england

They come all like Gypsies or a Morrice,4 and Dulcinea is pleas’d to be Mayd Myriam; Strike up the Tabor and the Pipe, lend us but the Barne, or the Churchhouse, And great Dulcinea, and her Knight accord, (sig. ∗ 1r–v ) To be Wake Lady, and a Whitsun Lord.5

Following the epistle to the reader are nine commendatory poems by various hands. To his most facetious Friend, on his Festivous Notes upon Don Quixot. Where others Lamps have burnt long Attick nights, With rancke Romancie oyle to grease their Knights: Thy nimble Phant’sie hath with ease displai’d All the Chimera’s 6 of the Errant Trade. Which (though with a crispe Nostrill penn’d) was done With a Spagericall 7 discretion: For, while the Ore ran melting from thy Minde, It left thy chiefe, and richer Thoughts refin’d. Mens doughty Gimcracks, thou dost (glancing) hit, With such a sure Mercuriall aime of Wit, It into shivers splits my quivering Milt,8 To see thy Lanceere Notes so run a-Tilt. Had thy full lines run out their Paralell, And not been charm’d in by a warie Spell; Thou’dst turn’d the Pyrrhick Galliard of the Times Into inchanted Spanish-Pavin Rimes. 9 If solid heads may judge the Text is good, It will improve much now, being understood; The Comment sets a lusty glosse upon The high Atchievements of the metall’d Don: The inventory of his Martiall goods; His fits of Courage, and hot fighting Moods; His passive valour, with his daring mind, In dismall Rubriques on his body sign’d; Whereof he had, if you the Adage scan, A long ear’d burden would o’r-laid a man:10 His mad mistakes, whereby we cleerly know 4 5 6 7 9 10

Morrice: like a band of morris dancers, one of whom was generally costumed as Robin Hood’s Maid Marian. Wake: the vigil or eve of a festival; and Whitsun (Whit Sunday or Pentecost), the festival itself. Chimeras: fire-breathing monsters such as errant knights encounter in their workaday travels. 8 Spagericall: spagyrical, of or relating to alchemy (OED). Milt: spleen. Pavin: pavane, a stately, courtly dance (Spanish pavana), as opposed to a vigorous and lively galliard. Long-ear’d : one version of the adage is simply “We know the Asse by his eares” (F. P. Wilson, The Oxford Dictionary of English Proverbs [Oxford: Clarendon Press, 1975; repr. of 3rd edition] 21).

1654

169

Th’ Iberian Ajax, from Jeronymo:11 His strong affection to Dulcinea’s Name, Which kindled in his Breast that restlesse Flame. Here, Sancho Panca proves a proper Squire, And a true spark of the same wandring fire. Brave Rosinante trapp’d, and pamper’d thus, May play at Cribedge with Bucephalus;12 And Sancho’s Asse, (one of the golden Brood) May feed on Roses, a restoring food. O that some pleasant Beames would shine like these Upon her Cozen, the Welsh Hercules!13 But thou hast done enough for to engage All the Sir Valiant Woudbees of this Age. And while you hint, that who doth ever-streine At wild attempts, makes good Don Quixots veine: Your Clavis14 makes his History to be The unveil’d Cabala of Chivalrie. Chirosophus. (sig. ∗ 2r )

Another anonymous fan addresses the following verses “To the very Witty, Merry Author” and, among other things, manages to remind one of Mambrino’s helmet and Don Quixote’s attack on the sheep. The greatest part of scribling shavers Are but Rehearsals by their favours; And they that read them find this true thing, Not one in ten writes any new thing. But above all the dabling Traine, The Commentator’s Knave in graine;15 Who farther never seeks to store him, Then what five hundred said before him; So be it History, or Fable, He still serves cold meat up to th’ Table. But see, our friend defies the man From Bodley,16 or the Vatican, That shall produce one writer on His dapper Sancho, or the Don. Why so then. Out with’t man of price, (Fall in that will) then breakst the Ice, Fear’st no cut feet, nor broken shankes, 11 12 13 14 15 16

Probably Hieronimo, the maddened central character in Thomas Kyd’s Spanish Tragedy (1587). Here Gayton would have us think of Alexander the Great’s steed playing a popular card game— cribbage—with Rocinante. The “Welsh Hercules” is identified in a shoulder note as “Cap. Jones,” i.e., the hero of David Lloyd’s The Legend of Captaine Jones, q.v. Clavis: key. Knave in graine: a knave, even though a rich man dressed in scarlet (Latin granum, scarlet dye). Bodley: an Oxonian’s reference to the Bodleian Library.

170

cervantes in seventeenth-century england So the renown may be La Manches: but prov’st the Annals of that high Towne, A Comment are on Laugh and Lye downe.17 Loe here the Knight, by Cupid balled18 Through thick and thin, Posteriers galled; Posting from place to place full seare,19 On two long Eares, ( Squire on two more;) Who setting out, a Helmet snatches, Which oft in suds had drencht Mustaches: Sword girt on thigh, dirt-dragg’d and slobber’d, Cold Iron sheath’d in rust, not scabber’d. And ’stead of Speare, his hand he flatters With ravisht Pole from Barbers Platters. With these, and dire resolves, he enters Arm’d, or to find, or force Adventures: With courage keen as panch of Glutton,20 He spies out foe, a Flock of Mutton, Spurs Rosinante, up he ambles, Where strait he makes the field the Shambles.21 For Dulcineas sake to win her, He eats, and fights this duel dinner; For Dulcinea, who the while, Sleeps upon bulk, or sits on stile; For why, she cares not much to goe, ’Cause shee wants shoon22 to cover toe. And (Country hot) shee weares not stockin Of silke or yarne, to put her Hock in; That the whole world may judge and see, Shee can endure as well as he. For though alone he roam about, Yet ’tis well known, shee oft goes out—— —At Elbowes, and doth suffer hardship, In coates rent up to th’very large hip. Now ’tis their fashion in Toboso, For damsels mendicant to goe so.

(sig. ∗ 2v )

This next commendatory poem by a “Friend of Gayton”—a man undergoing bad times—contains references to Don Quixote, Dulcinea, and Rocinante: The Itinerant Minister to the Squire Errant on his Festivous Notes upon Don Quixot Banisht from Pigs and Poultry by harsh votes; And all that sounds Festivous, but your Notes, 17 18 19 20 21 22

Laugh and Lie downe: laugh and Lie down, a card game; its name was variously useful in wordplay. Balled: to be struck or thumped, receive a shower of blows (OED). Seare: i.e., sere, dry. Panch: paunch or belly. Spanish pansa conveys some of this meaning to Sancho Panza. Shambles: a site of ruin, disorder, and/or bloodshed. Here the writer refers to DQ 1.18. Wants shoon: lacks shoes.

1654

171

(For, in their Kalendar my name’s not found; Who, least the spit should not, themselves turn’d round) I scarce have laught, but with a sullen smile, To see your Quixot acted in our Ile; The Zelot mounted, when a crosse he spi’d, Encountring it, as he the Windmill did: Mistaking old Saints, and the yellow glasse, In which they stood, for Gyants arm’d in brasse;23 And then in quarters on a bed of straw, Making the rest with’s Dulcinea. All so to th’ life, they were not much amisse, That could believe a Metempsychosis.24 But this your book can wasted spirits retrive; At the first newes on’t I did so revive, As the intruding Levite25 does, to hear His Pilfer’d Tithes will stand another yeare: But when I saw the worke, its stuff and make, I could have been a Poet for your sake. Did but your Author live, he would be vext, Your Comment was not his, as was the Text. He that will praise it as he should, must goe A way unbeaten yet; that is, like you, Leave common-Play-book-Poetry that spends The same Encomium upon any friends, As we doe Funerall Sermons; and alone Move in an Epicycle of his owne. Your observations such a path have trod, They turn old Pegasus, quite out on’s rode; And we are dry, till Rosinantes foot Strike us another Helicon to do’t.26 ˆÈÎo -√≈…‘ŸÕ;27 (sig. ∗ 3r )

Another anonymous commendatory poem alludes to Don Quixote and names Sancho, Dulcinea, Rocinante, and Dapple. It is entitled: On don quixot with Annotations. The famous Errant Knight of Spaine Once more here sallies forth againe, Remounted upon Rosinante; Though leane his ribs, and belly gant be, Gentle and without jadish tricks, 23 24 25 26 27

Apparently the work of a clergyman, this passage records the destruction of crosses and smashing of church windows by English zealots of the day. Cf. herein 1643: Canne, Abednego. Metempsychosis: transmigration of the soul to somewhere or other. Levite: one of the tribe of Levi; assistants to the temple priests. Helicon: Hippocrene, a fountain on Helicon, mountain of the muses, sprang up after a kick from the winged horse Pegasus. ˆÈÎo -√≈…‘ŸÕ, philo-geit¯on, “Lover of one’s Neighbor.”

172

cervantes in seventeenth-century england Whose Provender him never pricks. Sancho likewise, that witty Squire, On dapple [sic] followes through the mire; The monstrous Gyant not to tame,28 That lately into England came, And lies sick, since he was brought over, Some say at Plimouth, some at Dover: Nor, like his neighbour Portugall, Damsels to fright and kill us all. His well known sword he needs not try on Our Morefield Windmils,29 since the Lyon Made a retreat into his Cage By good hap, and would not ingage.30 No new Adventure or Supply Swels so compleat a History; Nor is our Author a Translator, But a Criticall Commentator: His Notes he to the Text doth fit, With English matching Spanish wit; Like Coyne with Philip stampt and Mary, Or, till divorc’d, like Kate and Harry; Or those Pavillions powdered, With H. and K. in Hollinshead.∗ Great thankes the Mancha may him con, Great honour hath he done the Don; And Dulcinea del Toboso Hath disinchanted: Reader, know so. (sig. ∗ 3v )

“Hollinshead” is marked for a side note: “Pag. 807. H8.” At Westminster, according to Raphael Holinshed in The First and Second Volumes of Chronicles (1587), on 13 February 1510, Queen Katherine and her ladies went to watch Henry VIII jousting. Henry is described as entering “under a pavilion of cloth of gold and purple velvet embrodered, and powdered with H. and K. of fine gold, the compasse of the pavilion above embrodered richlie, and valansed with flat gold, beaten in wire.” (p. 807). 28

29 30

At this point the versifier embarks on a rather obscure and not altogether coherent passage that harks back to late May of 1588, when Spain’s “monstrous” Armada set sail from Lisbon, Portugal (Spain’s “neighbour”). The ships entered the English Channel in July and made their way into battle near Plymouth. Crippled by this and other fighting, they then sailed eastward and, several battles later, entered the Straits of Dover. After the now legendary fighting at close quarters there in late July and early August, this presumably invincible Spanish giant of a fleet was finally driven northward into the North Sea. Moorfields extended from London’s city walls northward to Hoxton. Three or so windmills were situated in its southern part on a site called Windmill Hill. The poet refers here to the episode in which Don Quixote insists that a lion be released so he can demonstrate his own intrepidity. When the lion cage is finally opened, the ferocious-looking beast stands and walks around a bit, stretches, yawns, licks himself, looks about—and finally lies down again inside his cage (DQ 2.17).

1654

173

Another poet, using the pseudonym “Æsop,” addresses Don Quixote with the sobriquet suggested by Sancho Panza in DQ 1.19: Æsop to the Knight of the Ill-favour’d Face. As Æsop who made Birds and Beasts to speak, Putting plaine Nature into learned Greek, Her dimmer instinct did unveile, That he taught Morals from an old wives tale; And whereas men were turn’d to beasts by Art, Did them againe by Beasts to men convert: So thou, considering what befits this age, Hast brought thy Don unridled on the stage; And with thy rayes illustrating his shade, Hast a cleer mirrour of a night-piece made: Whose cunning placing doth much skill detect, To make it so far off these times reflect. For we the common size of man out-grow As farre above, as th’ other were below. In Arts and Arms, in our disputes and fights, Nay in all trades almost, w’are Errant Knights. We start up Heroes: Here a Cobler enters, And in the next page doth a Knights adventures. Now you shall hardly see (because he’s gaunt And poor) a draught Horse yield to Rosinant: Who did the Knight carry, as we have read, So many miles, still better taught, then fed. Patient, though Sancho did his belly pinch, So disciplin’d, though gall’d, he would not winch: Proportionably eate so many Oates, As in his purse his Master carried Groates, Who might not so against his Order sinne, As to weare mony, or pay it in his Inne: For who could mony aske of him, who did Oblige the world by deeds, where ere he rid? Could any Hostesse for the reckoning scold, Who did this doughty man of Arms behold? That Lady that would not wipe out his score,31 Be sure, he’ll never see her Castle more In just revenge; for then should any Gyant Abuse her after, he would ne’r say fy on’s, Or question him, who otherwise should feed His anger printed by his Bilbo steele:32 But Hosts and Hostesses, and Ostlers too Were civiller, or he would make them so. But Friend, take heed, thy Notes may doe him wrong 31 32

Score: a record of the beverages consumed by an alehouse visitor. Bilbo steele: Bilbao, Spain, was known for making fine swords.

174

cervantes in seventeenth-century england Who never needed helpe of any tongue: I only feare that you may kindly erre, By ventring to be his Interpreter. Since it is knowne, and by himselfe made good, Where e’r they came, Errants were understood. But this I thinke will that objection checks, He is not when he’s read, as when he speakes And read he’ll be, unless by Errant Knights Like him, they’re not for reading, but for fights. Goe forth then, and let Rosinant out-run In his good speed, the Coursers of the Sun.33

“E. D.” entitled his poem: A Trumpet before the Puissant D o n. By your leaves friends, give way to usher on With trunch’on34 pen to th’ gate, this mighty Don: I would be briefe, as truth, if any shall Demand what’s here, an Amadis de Gaul? A Knight o’th’ Sunne? or Warwicks dreadfull Guy, (Whose famous Acts are writ in Stars on high) Th’ old King Arthur? or that feeble Fable Of his Round Knights, sate round his rounder Table? I answer, none of these; but one no jot Lesse then the best of those; who? Don Quixot: A bold Knight-Errant, that to th’ very day Atchieves as strange Adventures as all they. Bring me a Saracen with head, and A-neck So bigg, you’d take him for a sonne of Anak,35 Or any of that monstrous brood of Gath; (If any such the world at this time hath Old, and decrepit growne) The Don with Lance Against the Gyant-race doth strait advance. Which way the victory will sure incline, Look up and judge; the Saracen’s a Signe.36 Is there a Lady (who the Lord knowes how Shee came to be so) that’s imprison’d now In some inchanted Castle, built i’th’ aire, Immur’d with Devils, moated with despaire: That whines, and whimpers, pines for some reliefe From her lost Knight, almost undubb’d with griefe? Madame take courage, melt no more, but pray, Let those salt drops descend another way. See Quixot at the Castle Gate, in Armes, 33 34 35 36

Apollo, god of light, traveled in a chariot drawn by four horses. Trunch’on: a truncheon is a staff symbolic of some sort of office; a marshal’s baton. Sonne of Anak: Numbers 13:33: “the sons of Anak, which came of the giants.” Saracen’s a Signe: here the poet refers to an inn sign as if it were a trophy.

(sig. ∗ 4r )

1654

175

And anger fell, vowes to uncharme your Charmes; And spight of Hell, and what the Devils can doe, Tilt you from all their spels, or them from you. Shew me a Gyant Caniball, that dwels Retired now to uncouth Caves and Cels; Batning with humane flesh, and blood, that knowes (Save what he eates) no other friends or foes: Whoe’s guts being all the braines he has, do’s dread That only paine, the belly ake in his head. Let the puissant Quixot but appeare, Arm’d at all points, and in the first Career37 This monster Gyant fals; when the bold Knight With his keen steele, to consummate the fight, Opens his Butt’ry-Belly, sweeps all away, And there commands an endlesse fasting day. Whilest to the wonder of the world, and just Trophee to Don, and his renowned dust; His monstrous Blockhead shall converted be Into a signe for some great Ordinarie.38 From these adventures doth he sternely wagge on, And meets the fiercer Lyon, or the Dragon; The cruell Tiger, the spear’d Unicorne, Or any humane beast of stranger Horne; The rav’nous Beare, or the mad raging Bull, Hee’ll tame all these, give all their Belly full; And as old Orpheus did by stones and trees, So shall this Don make up a Dance with these. More might be said, which if ’t expected be, Enter good Don, and do’t thy selfe for me. E: D. (sigs. ∗ 4v –∗∗ 1r )

John Speed (1628–1711), fellow of St. John’s College, Oxford (1647), eventually acquired an M.D. degree (1666) and became mayor of Southampton (1681). Here he contributes “On the Festivous Notes upon Don Quixot”: Have you not seen a Hench boy39 lac’d all o’re So thick, you could not tell what cloth he wore? Have you not heard the oaths of Country people, They could not for the Scaffolds see Pauls Steeple? 40 37 38 39 40

Career: charge, attack. Ordinarie: a public eating-house or tavern, perhaps called The Lion, The Dragon, or some such name. Hench boy: a page or attendant. Renovation of old St. Paul’s began in 1632, and in preparation for the construction of a new spire, extensive scaffolding was built around the central tower. Work ceased with the outbreak of war, and one of the earliest moves of the Commonwealth Parliament was to commandeer renovation funds and sell off all the scaffolding and other building materials. See G. H. Cook, Old S. Paul’s Cathedral (London: Phoenix House, 1955), 81–5.

176

cervantes in seventeenth-century england Or have you heard of (happy had you been, If I might aske you) have you also seen Dulcinea’s eyes lost in her cheeks, so that They seem’d like Rabbets Kidneyes coucht in fat? Reader, the same may in this book be found, The rich Embroidery doth excell the ground. The Text in parcels ’midst the Comment seemes Like single Strawb’ries in whole pales of Cream; And Don’s cook’d up according to the Lawes Of his owne Country Feasts, lesse meat then sauce. Sancho is now rewarded, and need look No farther for an Island then this book: In which the Text like Land incircled, floates ’Midst the vast Ocean of this Authors Notes; Who in his Book, like cunning Cloathiers, doth Of Spanish Wool make the best English Cloath. Who may not be a Poet, when the fire Rak’d from Dulcinea’s ashes can inspire? And Rosinante, though grown old, can thus Prove fire unto so quick a Pegasus? Quixot, of all the brave Adventures thou hast past, No folly was so glorious as this last: Where though no foure arm’d Gyant thou dost meet, Who ‘stead of puddings, eates whole sacks of Wheat; And makes the Country Neighbourhood about Swallow, Sir reverence, what he voideth out: Yet thou must combate with a foe, thou’lt find More subject to each blast, the Censurers mind. When first into the world thou didst advance, Bound up in Pastboard, like thy owne Romance;41 That magick Armour and Artillery, Those strange Habiliments of Errantry Could not protect thee like these Notes, although Thou salliest now in paper Armour too. But goe on boldly, Frestons charmes must end,42 See here, a Disinchanter is thy friend; Who innocent black Art, hath round thee writ A magick circle of Festivous Wit; Which will secure thy Fame against that Prime, And lasting monster, all devouring Time. John Speed. (sig. ∗∗ 1v )

41 42

Bound up in Pastboard: Speed may be recalling here that Don Quixote repairs his helmet with a pasteboard visor (DQ 1.1). Freston: having appeared previously in the chivalric romance Don Belianís de Grecia (1547), the enchanter Freston (actually Fristón) is credited by Don Quixote with whisking away his library (1.7) and turning giants into windmills (1.8).

1654

177

Anthony Hodges43 offers “On Don Quixot, published with Annotations by my worthy friend, Mr Edmund Gayton”: Franck Rablais with his learned Tracts of Physick, Had made his Printers purse sick of the Tisick;44 For those few Copies, which at last were sold, Serv’d but to wipe what other Doctors foul’d. He that by writing well hopes for repute, Makes but himselfe the Worlds base prostitute: Which he disdaining, vow’d to recompence The Printer, and his Clients with Non-sence; And that did do’t; for Customers did duell, Who first should buy the gests45 of Pantagruell: Nay you’d admire, in lesse than halfe a day, All Hist’ry vail’d to Gargantua. Therefore my Friend, whether in Prose or Rime, What thou hast writ is satyr to the Time; Thou feedst the Asse with Thistles, and with Chaffe, To make thy selfe, and other wise men laugh. Let not the Critiques then, thy work disdaine, And say, thy Authors Windmill’s in thy braine: Nor yet conclude thy Pegasus is Hip-shot,46 Because thou’st written Notes upon Don Quixot. Were Don alive againe, he would be vext, To see a Comment better than his Text; For some o’th’ wits who have perus’d it, say, Thine is not Glossa Ordinaria. Anthony Hodges. (sig. ∗∗ 2r )

Thus Hodges, closing his poem with a reference to the Glossa ordinaria (a widely used and therefore ordinary medieval gloss on the Bible), manages to suggest the extraordinariness of Gayton’s gloss on Don Quixote. William Taylor’s “Upon the second comming forth of the most redoubted Knight Don Quixot, and his renowned Lady the Fam’d Dulcinea del Toboso” alludes to Don Quixote’s battles with flocks of sheep (DQ 1.18) and to Sancho’s much-discussed island (introduced in DQ 1.7): Ladies, prepare to entertaine The Madam Mendicant of Spaine: Let not her Rags offend, for you Your selves, alasse, weare patches 47 too: Though out at heel, and out at Toe, 43 44 46 47

Hodges (c.1613–1686), himself a translator, had produced The Loves of Clitophon and Leucippe (1638) of Achilles Tatius. 45 Tisick: phthisic or asthma. Gests: notable achievements. Hip-shot or hip-shotten: “Having a dislocated hip-joint” (OED). Taylor plays here on the difference between Dulcinea’s beggarly patches and the beauty patches applied to the faces of fashionable English women.

178

cervantes in seventeenth-century england Along Dulcinea too must goe. Don from Dulcinea will not stray, (He runs at Sheep, but not that way) Shee and her Knight againe doe enter, Not arm’d for any new adventer; But that shee may receive from you, The honour of a second view. At first this great and famous Dame, In English vamps48 translated came; And being you know a Coblers Daughter ’Twas proper worke for a Translater: But then ’twas fit, there should be next, A Comment to so darke a Text: For who without it could discover, How shee should e’er deserve a Lover? But ’tis to great Dulcinea’s glory, Shee passes every one in story. From Spaine and from Toboso too, With halfe a Smock, and ne’r a Shoe, Shee’s come again to visit you, As Lady Errants use to doe; For ’tis their custome, those that make Them welcome, they will ne’r forsake. And Sancho too, that doughty Squire, Attends Dulcinea thorough the mire; Through thick and thinne, o’r hedge and ditch, The trusty Squire goes thorough stich:49 ’Tis a hard taske to wait upon her, But the more hard, the greater honour. Easy Atchievements are not nam’d, ’Tis hardship makes adventures fam’d. The Island, he expects, no doubt Is very hard to be found out: But Sancho, if ’t be any where, Thou’lt find the promis’d Island here. The Comment (’cause thou’st little wit) Believes the Isle of Silly’s50 it. But Don, I doubt, will scarce be found To keep within the Comments bound. If hunger pinches, out he goes, And makes a breakfast on his Foes. For having first his Armour put on, He streit goes forth, and routs the Mutton;51

48 49 50 51

English vamps: “vamp” refers particularly to footwear but also means anything refurbished or renovated, including “a book of this nature” (OED). Stitch: “A good stitch” means “a considerable distance” of walking (OED). The pun here involves the Isles of Scilly at the western entrance to the English Channel. Mutton: actually Don Quixote does not attempt to rout the mutton until DQ 1.18.

1654

179

Then to Dulcinea comes he post, Laden with spoiles; shee rules the rost. If any Gyants him oppose, (As oftentimes he meets with those) He then his passive Valour showes, And gallantly receives their blowes; And ’tis an argument of great And daring courage to be beat. Yet let Dulcinea name but bread, And streight you heare a Windmil’s dead: And were that Gyant ten times stronger, There’s no resisting against hunger, That breakes stone wals you know;52 how can A wooden Gyant hold out then? And if nor wood, nor stone, how shall We keep him in a Paper wall? That cann’t confine him without doubt, For loe, already hee’s come out. William Taylor. (sig. ∗∗ 2v )

Thus go the encomiums of nine different but jocularly inclined friends of Gayton. Inasmuch as his whole book deals with Cervantes, it obviously cannot be reproduced entire here. Nevertheless, to give readers a taste, the opening chapter is herewith transcribed. The running head is “Festivous Notes Upon Don Quixot,” and an introductory poem reads thus: The first containes whence our Knight Errant came, From an old house, that is his first known Fame. Then it discovers, if you farther look, That he did nothing rashly, but by Book Of Errantry; and upon that he wanders, Hoping to get a Name as great as Scander’s.53

[TEXT] There lived not long since in a Village of the Mancha, the Name whereof I purposely omit.] Why our Author doth purposely omit the name of the Village, where this Knight of famous memory did live, is easily smelt out, even this, that he might make the greater search after it. The place of Homers birth is yet a challenge upon Record, and the head of Nile being undiscoverable, breaks many a mans braine to find it out. Tennariffe and Pen-Men-Maure, are Mountains whose tops are obscured by their heights,54 and herein he hath politiquely out-gone

52 53 54

In Shakespeare’s Coriolanus (1.1.205–6) the testy Caius Martius says that the hungry citizens “sigh’d forth proverbs—| That hunger broke stone walls.” Scanderbeg: the nickname of George Castriota, the leader of a revolt against the Turks in the fifteenth century; in England the name became an allusive epithet. Gayton calls to mind Tenerife in Spain and Penmen Maure in Scotland.

180

cervantes in seventeenth-century england

our Country-man Tom Coriat, who indeed was borne in Zomersettshire (as the ingenious Hoskins hinteth in his merry Poem.) Puer erat expers artis, Et cum fabis, & cum fartis Sommersettisatus.55 But certainely he had been far more eminent, and a grander search made after him no doubt, if he had been pleased to have concealed his Natalitiall Town of Odcomb, and let the world upon enquiry. To pile up in their Halls old Launces, &c.] This description of his house is in short the very same with an ancient Justice of Peace his Hall, a very dangerous Armory to be toucht, like Pauls Scaffolds,56 Monumentally standing, because none dare take them down: he proceeds not unlike the Welch Inventary, but it is not so large, nor so good, Sow’s Babys in Spain being a mean for the house of Austria, and not garsionable57 by the Manchegans, though ennobled by the residence of Don Quixot. His Wardrobe not much exceeding the Major of Quinboroughs, though for the thrift lesse notorious. The Frugality of the Canvasse back to the Velvet fore-body, being not then known at Madrid, and so could not possibly arrive at the Mancha. He had in his house a Woman about forty yeares old, &c.] His Family (himselfe included) like that of the Arke, two and two, Male and Female, but not of so many persons by halfe, yet here was as great Beasts. I do not read that the Don did ever augment his Number, though his Neece was under twenty, and himselfe (as is supposed) by the swelling of his Lip of the Austrian Family58 (somewhat removed,) or at least of the race of the Jews, as appeares by his Errantry, which is but a neater word for wandring: unto whom it was, and yet is lawfully to match within their Tribes. He was an early riser, and a great friend of Hunting.] Now you perceive the reason of his continence, he was an early riser; That indeed made not much for 55

56 57 58

John Hoskins (1566–1638), a merry poet, indeed, as well as a lawyer and M.P., had demonstrated his abilities in a “Convivium philosophicum” honoring Tom Coryate, the famed traveler, and other habitués of the Mitre Tavern. The section of the poem Gayton quotes here was translated rather loosely by a gentleman named John Reynolds, some of whose lines read: When Coriate is fud[d]led well, His tongue begins to talke pel-mel He shameth nought to speake. A boy he was devoid of skill With white-pots and oaten-cakes at will Somersetizated. (Quoted from John Hoskyns, Serjeant-at-Law, ed. Baird W. Whitlock [Washington: University Press of America, 1982], 395.) Though Reynolds shared little of Hoskins’s wit, Whitlock remarks, “almost any school child knows at least one poem that links beans and farts” (p. 421). It will surprise few readers that Hoskins’s name has been linked also with the widely circulated verses titled “On a Fart in the Parliament House” (see L. A. Beaurline, “The Canon of Sir John Suckling’s Poems,” Studies in Philology 57 [1960]: 492–518). Renovation of old St. Paul’s stopped when war broke out. Parliament commandeered the renovation funds and sold the scaffolding. Garsionable: from garcion, garson, referring especially to a young man or boy servant. Lip of the Austrian Family: Gayton refers to the famous prominent jaws of the Habsburgs— including, of course, those of Spain’s royal family.

1654

181

it, but withall a friend to hunting, that did it. Our Don was a dedicated Vassall to Diana.59 Otia si tollas periere Cupidinis arcus. 60 Hunting Speares and Javelins are not of Cupids Quiver, nor will I attribute this Costivenesse (as to the flesh) to his yeares, being on the worse side of forty, as they say, or to his withered face, or dried flesh, which may render him suspected for an Eunuch, but purely to his industry and love of manlike sports; Unto which, without doubt, whosoever totally devotes himselfe, cannot be guilty of effeminancy. He made away many Acres of Land to buy him Bookes of that kind.] We have a Proverbe (but the Spaniard have two for one) That a foole and his money are soone parted; It seemes our Knight (pardon the application) made his Lands Errant before himselfe, and dub’d his Acres first, so that what he did afterwards was but in pursuance of his Lands that went before, and so made himselfe a WiseAcres. Laugh not too soon at our Spaniard, unlesse you can acquit yourselves countrymen of as great a folly. Are not Books of this kind as well bought as those of the Philosophers stone? And pray what difference in the price? How much good gold hath been fired, out of whose ashes yet the young Phaenix never rose? What did Banckes spend in Coales do you thinke?61 How much Terra was Damnata? How many Lordships sold? besides the inestimable losse of Time and Braines, to purchase this empty name, and found the Philosophers stone? There is not of all that expencefull madnesse so much left for profit or recreation, as the History of that Quixo-Philosophy, or Philosophers, unlesse what is most admirably Satyriz’d by our Father Ben (of eternall memory) in his Play of the Alchymist: Spectatum admissi Risum teneatis Amici? 62 Which would move laughter most, our Dons encountring his Windmill, or his Lordship at the Furnace? Being Subtle, Face, Lungs,63 and all: Bestow a brace64 of tassled Caps upon them both, and so exeant. He did not like so much the unproportionable blows which Don Belianis gave and tooke.] Our Don is not so much transported with Belianis his Blowes as a passionate Butcher of our Nation was, who being at the Play, called the Greeks and Trojans,65 and seeing Hector over-powered by the Mirmydons, got upon the Stage, and with his good Battoone tooke the true Trojans part so stoutly, that he routed the Greeks, and rayled upon them loudly for a company of cowardly slaves 59 60 61 62

63

64 65

Diana was goddess of the hunt. Ovid, Remedia amoris, line 139: “Take away leisure and Cupid’s bow is broken,” in Ovid, trans. J. H. Mozley (Cambridge, MA: Harvard University Press, 1979), 186–97. Banks (fl. 1588–1637) was imprisoned on suspicion that he used magic to make his famous horse Morocco do tricks. Gayton quotes Horace: “Could you, my friends, if favoured with a private view, refrain from laughing?” (Ars Poetica, 1.5); in Horace’s Satires, Epistles and Ars Poetica, trans. H. Rushton Fairclough (London: William Heinemann, rev. 1929; repr. 1966), 450–1. Having been adopted as one of the so-called Sons of Ben, Gayton turns readily here to two of the main characters in Jonson’s Alchemist: Subtle is the alchemist, and Face, also known as Lungs, is the housekeeper. Brace: pair. Greeks and Trojans: apparently a lost play, possibly Heywood’s Iron Age; see Harbage, Schoenbaum, and Wagonheim, Annals of English Drama (London: Routledge, 1989), 213.

182

cervantes in seventeenth-century england

to assault one man with so much odds. He strooke moreover such an especiall acquaintance with Hector, that for a long time Hector could not obtaine leave of him to be kill’d, that the Play might go on; and the cudgelled Mirmydons durst not enter againe, till Hector, having prevailed upon his unexpected second, return’d him over the Stage againe into the yard from whence he came. Many times he did fall at variance with the Curate, &c.] As great an occasion of quarrell was this of a brace of Students, who kept short of the Dividents of their Coledge Fines (for that was meant for their betters) while their Seniors were sharing that money, walkt in their Grove, (taking the fresh aire without any contradiction of Superiours;) [sic] At last one makes a supposition, If thou or I now should happily find a purse of Gold, how should we divide it? They were, you must conceive, of different degrees; one Master, the other Batchelour of Arts. The Master of Arts, like the Lion, asked the greatest part. The other said, no, Simul occupantes æquè Dividentes: Equall purchase equall share. The Master would not forgoe his priviledge of seniority, the Junior insisted upon his Title of halfe; at last it grew so hot that they fell to Cuffs, and bang’d one another devoutly, untill, weary of their blowes, they began to examine each other of the ground of their falling out, which was no other than about the divident of a purse of gold, which was never yet found. That the Cid Ruydiaz 66 was not to be compared, &c.] To the Knight of the burning Sword? What wouldst thou have said, if ever it had been thy fortune to have adventured into England, and seen the Knight of the Burning Pestle, who carried all the Ladies before him: Or if that other Knight of the same Nation had ever come to thy eares, whom I may call the Knight of the high Scurrado, or the Spouting-Pestle, by name plaine Captaine Jones?67 Certainly Bernardo Del Carpio68 (though of greatest esteeme with thee) should not have been in the same lease of the Book in the Diary and Register of valiant men: Besides, this Nation (for I cannot give all Heroick actions to the Spaniard) have produced names as high as Hercules. What I pray was Chinon of England, or the Foole transform’d? Bevis of Southampton, and Guy of Warwick,69 or that Cripple-errant of famous memory, who stole the golden weather cocke from Pauls steeple, before it was a Tower, which was the highest piece of desperate valour that ever was performed, but that his piety is as notorious as his sacriledge, for with the same weather cocke, he built Cripple gate; which untill this day retaines his name. 70 66

Cid Ruydiaz: Rodrigo Díaz de Vivar, El Cid Campeador (1049–1099), the hero of Spain’s great medieval epic. High Scurrado: scurr, a buffoon (OED). See herein David Lloyd, The Legend of Captaine Jones (1631). 68 Bernardo del Carpio: a legendary Spanish hero considered a parallel to the French Roland, perhaps Roland’s slayer at Roncesvalles. 69 Chinon of England (1597), by Christopher Middleton; Bevis of Hampton (1500?), based on a twelfthcentury Anglo-Norman chanson de geste; and, most popular of all, Guy of Warwick (1565?), traceable back to the thirteenth century. 70 William Dugdale, in The History of St. Pauls Cathedral in London (1658), writes that in 1462 a costly Wether cock made of Copper and gilt, (the length whereof, from the Head to the Tayl, being four foot; . . . and the weight of it xl. lib.) was set up; the shaft whereon it stood (which was xv. foot vi. inches long, and the traverse v. foot ten inches, all of firm Oak) having a cover of lead, plated over with Copper; the compass of the Ball being ix.foot and one inch: as appeared by measure, at the taking down thereof . . . in Anno MDLIII. . . . (p. 133) 67

The “Cripple-errant” appears to be apocryphal.

1654

183

Rosinante a horse of labour and carriage.] I wonder, the Don being so neer neighbour to the sunne, did not borrow some of his horses names, but indeed they did most properly belong to the knight of the same name. He chose rather by a figure, the nomination of his Bucephalus, and by a Husteron Proteron71 (as we say in English) of putting the cart before the horse, he succeeds very happy in the title, which in English makes not so high a sound as in Spanish, but will doe indifferent, Latpackasad, being in sense the very same, but not in sound with Rozinante, though our horses doe not take their names for adventures, like the Dons, yet they have their names from their presenters; if a friend bestow his horse, he passes his name with him, & by that means, the names of many worthy persons (who have not left succession behind them) are continued in the race of their gifts. It would be a pretty imployment (for there is little work now for Heralds) to blazon those gentile horses coates. There is an able fat farrier herald, somewhat Northward, whom it would (being the trades are already met in him) very excellently become, unto whom I leave it. D o n [sic] Quixot of the Mancha] It was as small a labell, and as modest, as any Knight could first have vent’red on into the world with; for lower matters the Empire of Trapesonda,72 having shaken hands with their names, and not retain’d so much as Don Quixot of Quixoda, or Quesada, which was rather a syncope or diminution to his name, being more at length naturally, or rather literally, though in account lesse: some of our Nation have accounted it more honourable to owne a bastardy, by assuming the name of the Lord that gat them to an Annuity, then to hide their mothers shame, under the plausible covert of their supposed Fathers. I am the Gyant Caro Culiambro]73 A very good name for a Gyant, but I will tell you what will fill ones mouth as well, even one of our English Gyants, as Sheildabrawne, Colarbrawne, Legomutton, Rasherobacon, and many more of this last sword bearing race, who by prowesse of the Captaine Joneses of our times, the Marriots, the Woods, the Stubbinses, and other knights of the round Table, have been hackt, hew’d wriggled and utterly confounded. He call’d her Dulcinea del’ Toboso] Aldonsa Lorenso, strangely Anagrammatiz’d into Dulcinea del Toboso, but Schoolemasters talk Latine by the rule, and Princes by instinct. Therefore in contemptum Anagrammaticorum, Aldonsa Lorenso shall make Dulcinea del Toboso. For as the French care not for the quantity of syllables, so we Spaniards care not for the transposition of letters; I shall conclude

71

72 73

Hysteron proteron: a figure of speech which gives “the first place in the passage to what chronologically occurred second”; e.g. George Puttenham’s “When we had climbed the cliffs, and were ashore” (Lee Sonnino, A Handbook to Sixteenth-Century Rhetoric [London: Routledge and Kegan Paul, 1968], 145–6). Don Quixote calls to mind the great empire of Trebizond (1204–1461) and imagines that his knightly prowess might lead to his being crowned there (DQ 1.1). Cara Culiambro: Caraculiambro, the giant lord of an island, is conjured up by Cervantes’s hero in the opening chapter of Don Quixote. Rutherford observes in his translation (Cervantes, The Ingenious Hidalgo Don Quixote, 986), the name has overtones of “Arse-face,” which suits well with the jocular miscellany of heroes that Gayton himself proceeds to mention. The comic quality of Captain Jones has been noted here previously; see herein, Lloyd, The Legend of Captaine Jones (1631). “Marriot” summons up recollections of John Marriott (d. 1653), recently memorialized as The Great Eater of Grays-Inn (1652); and Sir Andrew Wood (d. 1515), a sea-captain from Leith, is remembered for adventures that probably never happened.

184

cervantes in seventeenth-century england

this Chapter with a reply of Don Gondamore,74 Country-man to our DON. Gondamore was talking in the Latine tongue with King James, and the King speaking exactly, Gondamore tooke liberty to expresse as he pleased whereupon the King not enduring the Peace should be so oft broke before his face, desired Gondamore to spare Priscians75 head for the future; but the DON was quick with his salve, and told his Majesty, that he spake Latine like a King, free and without rule, but the King spake it like a Schoolemaster. (pp. 1–5)

This lightweight but amusing foolery continues thus for four books and fiftytwo chapters, each preceded by a versified condensation of a portion of the plot of Don Quixote. Two stanzas are reproduced here as samples: Part 1, chapter 2: The second Chapter he attempts, but oh! Unto his griefe, he findes no wisht for Foe: Wherefore deceiv’d and wearied, he is forc’d Without an enemie, to be unhors’d, Yet not disarmed wholly Cap-ape;76 For in his Helmet he sleeps valiantly, Though with a Castle he would needs begin, Poor Rosinante was glad it was an Inne.

(p. 5)

And at the head of the third chapter: He must be dub’d, or nothing will availe, Mine Hoast the Order give, Carriers the Haile; Stones in such number, that our Knight might be Not of the Mancha, but à Lapide;77 And that poor Rosinant might stoutly stir, The Hay and Oat-booke was the Register: Where on Record stands scor’d our dreadfull night For want of pay, for fourteen pence a knight.

(p. 8)

270. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3441. UMI 1468:7 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on pp. 349–50. 74 75 76 77

Gondamore: Diego Sarmiento de Acuña, Conde de Gondomar (1567–1626), Spanish ambassador to England 1613–18 and 1620–2, probably the Spaniard known best to the English. See Fig. 5, p.28. Priscian (fl. a.d. 450), a famous Roman grammarian. Cap-ape: cap-à-pie, from head to foot. Lapide: lapidation, a highfalutin reference to the stoning administered to Don Quixote in response to his attack on a couple of mule drivers.

1654

185

271. Sheppard, Samuel, Good-Ale Monopolized, and the Tapsters Persecuted: or, Justice, Right or Wrong. S3165b. UMI (Thomason Tracts) 114: E.745 [8]

Sheppard (who thus far has only been glimpsed here) was in fact a prolific royalist writer, perhaps remembered best for his two-part Committee-Man Curried (1647) and Joviall Crew (1651). Here he attacks the republican regicide Robert Tichborne, who was knighted by Cromwell in 1655, became Lord Mayor of London in 1656, and after the Restoration was imprisoned for life. Sheppard (using the pseudonym Raphael Desmos) refers to Don Quixote’s love of chivalric books and alludes to Sancho Panza: It fell out that upon a Tuesday . . . our Captain . . . being seduced by reading those wicked books of Chivalry voluntarily (although without a Squire) and like a second Don Quixote, exposed himself to be most lamentably blind-folded with a Hempen or Flaxen Napkin, at the discretion of two sage Damsels clad in white. (pp. 2–3)

Sheppard appears to have in mind the blindfolding of Don Quixote by a bearded duenna in a nun’s habit just prior to his takeoff with Sancho on the flying horse Clavileño (DQ 2.41). 272. Sheppard, Samuel, Merlinus Anonymus. An Almanack, and No Almanack. A2381c. UMI (Thomason Tracts) 191: E.1487 [1] In the almanac for 1654, “Don Quixot” is celebrated on 27 October (sig. B7v ). 273. Sorel, Charles, The Extravagant Shepherd: or, The History of the Shepherd Lysis. S4704. UMI 850:36 For references to Dulcinea and the “extravagance” and foolishness of Don Quixote, see S4703 (1653); in this edition, the passages are found on sig. b2v and pp. 106 (1st pagination), 90 (2nd pagination). 274. Ward, Seth, Vindiciæ Academiarum Containing Some Briefe Animadversions upon Mr Websters Book, Stiled, The Examination of Academies. W832. UMI (Thomason Tracts): 113: E738 (5) Ward (1617–1689), an astronomer and eventually Bishop of Exeter (1662–7) and Salisbury (1667–89), graduated from Sidney Sussex College, Cambridge (B.A., 1637, and M.A., 1640). Later he became Savilian Professor of Astronomy at Oxford (where he taught the Copernican theory), worked on Kepler’s second law of planetary motion, and became president of Trinity College, Oxford (1659).78 Among his varied writings is this Vindiciæ Academiarum, an attack on the work of the antinomian John Webster (1611–1682). While targeting Webster’s Academiarum Examen (1654), Ward at one point mockingly relates Webster himself to Don Quixote: 78

John Henry, Oxford DNB, 57:394–52.

186

cervantes in seventeenth-century england

[B]ehold he trembles, least some think his Treatise to be like Plato’s Republick; Sr Thomas Mores Utopia, or the Ld. Bacons new [sic] Atlantis. But if they should do so, they were surely much to blame, and ’twere an unpardonable errour, I should be very glad to rid him from this feare, but I consider it is the destiny of such Heroes, borne for reformers of the world, to be men of working fancies, subject to ma[n]y feares & trances. His predecessor in the Military way (the famous Hero of the Mancha) mistooke a windmill for an inchanted Castle, and this man (man I did say, this Hero) lyes under the same delusion, relieve him I cannot, lament him I must. (p. 10)

Ward himself, of course, carelessly garbles here what Cervantes wrote in Don Quixote (1.8). 275. Whitaker, Tobias, The Blood of the Grape Republished and Enlarged by the Author. W1714A. UMI 1391:26 (as W1714) Whitaker (1601?–1664), sometime physician in ordinary to his majesty’s household, originally published this work in 1638 as The Tree of Humane Life: Proving the Possibilitie of Maintaining Humane Life from Infancy to Extreme Old Age without Any Sicknesse by the Use of Wine. For the present edition (which takes its title from an ecstatic passage in Deuteronomy 32:12–14), Whitaker provides an epistle addressed to the “Gentle Reader.” Here he states that his aim “was then, and is now, but an addition to our medicinal faculty, & more exactly to declare, how, and after what manner the ju[i]ce of the Grape may be conducible to humane bodyes, both for Aliment and Medicament” (sig. A2v ). Such a theme was not likely to disturb a Later court, but Whitaker’s earlier book had attracted a number of disparagers, whom he speaks of here as Don Quixotes and relates to Rocinante (introduced in DQ 1.1) and windmills (DQ 1.8): [My detractors] would have all knowledge & virtue to consist in selfe confidence & such poore Romantique learning as would enforce the antient worthyes both of art and courage to render a scornful blush to be seene amongst such butterflies, and to see such unnatural and preposterous motion from perfection, to imperfection, from rationality, to meer animality or contradictoriously; much resembling the Dutchy of Spoleto in the territory of Narina (which according to Pliny) is exceedingly dirty in a drought, and as dusty in wett weather, of such sort of strang[e] earth, were these Don Quixotes composed; and having nothing to encourage their errant Knighthood but a poore leane Rozinante, or som[e] glistering quoine 79 of their forefathers monuments which wil[l] not passe currant with any (but weake Capacities) for others that observe their digression from their Fathers virtues, cannot but conceave them better to have been pist out against a Wind-Mill, then otherwise produced to the shame of their Genitors. (sig. A4v –5r )

Another edition in 1654: W1714, same pagination.

79

Quoine: one of many early variations of coin.

@

16551

#

276. Collop, John, Medici Catholicon: or, A Catholick Medicine for the Diseases of Charitie. C5394. UMI (Thomason Tracts) 206: E.1637 (2) Now known chiefly as a poet who tried to follow in the footsteps of John Donne, John Collop (b. 1625) manifested in his various writings a largely conciliatory stance regarding the political and religious factions of the day. His Medici Catholicon is a 134-page prose tract in which he tells his reader, “I have known not a few whose too forward zeal to find out religion hath carried them out of all religion” (sig. A2v ). He declares that he himself “could live peaceably under any national Church,” reasoning that “By being charitable to all, I cannot deserve evil of any; and I hope no national Church so ill but may deserve my charity” (sig. A3r ). Rome, however, proves to be outside the pale. Collop asks: “Who would be ty’d to that infallibility, which instead of adorning, hath so dawb’d the Gospell, that Christianity may be suspected for a Fable, & al[L] religion pass for state-policy?” (sig. C4r ). The Church of Rome will condone such things as the golden Legend, Bridgets Revelations, Metaphrastes Saints, Monkish Chymæra’s, and pious frauds, which for excellence and probability may parallel Lucian’s true History, render Pantagruel Orthodox, make Don Quixot for the transportations of his phancy passe in opinion for a S[aint]. and a Gusman may be canoniz’d for a knave by revelation. (sig. C4r–v )

The Golden Legend (or Legenda Sanctorum), a thirteenth-century collections of saints’ lives assembled by Jacobus de Voragine, took a significant step forward for English readers when printed by William Caxton in 1483. Bridget (c.1303–1373), the patron saint of Sweden and founder of the Brigittine Order, was especially noted for her revelations, and St. Simeon Metaphrastes (fl. tenth century) was another gatherer of saints’ lives. In the satirical but presumably comparable True History by Lucian of Samosata (c.120–180), the narrator travels to the moon. Collop is on target to think next of Rabelais’s Pantagruel (1532), for both that work and his Gargantua (1534) are indebted to Lucian. 1

In agreement with Maxwell (Studies in Beaumont, Fletcher, and Massinger, 181–9), G. E. Bentley writes of Philip Massinger’s A Very Woman, published in Three New Playes (1655), M1050: “[T]he commonly asserted source for A Very Woman—Cervantes’s El Amante liberal—does not show enough similar features to be called a source. The two narratives have certain similarities in outline, but they are not those usually found between plays of Massinger and Fletcher and their demonstrated sources” (Jacobean and Caroline Stage, 4:828). Hence the omission here.

188

cervantes in seventeenth-century england

277. Cotgrave, John, Wits Interpreter: or, The English Parnassus. C6370. UMI 23:18 Cotgrave’s subtitle explains that this book is intended as “A sure Guide to those Admirable Accomplishments that compleat our English Gentry, in the most acceptable Qualifications of Discourse, or Writing.” Following a brief preface by Cotgrave there is a brief encomium by Nathaniel Brooke, who identifies himself as “THE STATIONER To the READER,” dates his work 19 May 1655, and at one point (as Knowles notes, no. 31) refers to the comic qualities of Don Quixote. When you are satisfied with the copiousness of these Curiosities, turn over a new leafe and you m[a]y step into a scene of Drollery, such as neither the Spanish Quixote, nor the Gallick Fraucion [sic] could never arrive at. (sig. A6v )

Brooke refers here to Charles Sorel’s picaresque Histoire comique de Francion, published first in 1622 and many times subsequently. Other editions: C6371 (1662), sig. A8v ; C6372 (1671), sig. A2v ; C6372a (1671), sig. A8v . 278. Cox, Robert, Actæon and Diana. C6710. UMI (Thomason Tracts) 133: E.886 [3]

Inside Actæon and Diana, in The Humor of John Swabber, apparently a wellknown droll at the time, there is an allusion to DQ 1.8. Two gentlemen, Francisco and Gerardo, are trying to work up a combat between Swabber the sailor and Cutbeard the barber (as in, e.g., Shakespeare’s Twelfth Night and Jonson’s Epicoene). Thus Gerardo tries to frighten Swabber—whose wife is twotiming him with Cutbeard: Ger. The Barber is preparing for the combat, he has took his pole to serve him for a lance, and one of his basons for a buckler, and vows to make you the wind-mill, whilest he plays Don Quixot against you furiously. Swab. A windmil!—Ile begone. (p. 30)

Another edition: C6711 (1656), p. 30. Also found in The Wits: or, Sport upon Sport: W3218 (1662), p. 124; W3219 (1672), p. 124; W3220 (1672), not present. 279. Crouch, John, Mercurius Fumigosus: or, The Smoking Nocturnal Communicating Dark and Hidden Newes. N&S 322.32. UMI (Thomason Tracts) 125: E.823 [3]

In the issue covering events from 3 January through 10 January 1655, in a satire against a Quaker, the royalist agent refers to Don Quixote’s over-zealous use of his sword:

1655

189

Theorean John, one of the inspired Cyclops of Vulcans Forge, being a mad Transilvanian, that had the Hebrew reveal’d to him in a Quaking fitt, and saith he is a Gentile designed to gather together the dispersed Jews in England, being (for his mad prancks committed to the Gate-house) he saith he hath Power to blow upon the Prison Doors when he list, and can kill every man that sits in the House, that last week made a great Bonfire at Lambeth, where his zeal was so hott, that he openly burnt the Bible, a Great Saddle, and a pair of Pistolls, declaring to the People, That they were the three grand Idolls of this Nation; afterwards he comming (like Don Quickzot) with his rusty sword into the Lobby, He drew, and put it up again, like a great Booby. (p. 252)

280. Crouch, John, Mercurius Fumigosus. N&S 322.47. UMI (Thomason Tracts) 126: E.833 [13]

Gustav Ungerer2 has noted that in Mercurius Fumigosus, no. 47 (18–25 April 1655), in an account of a painter’s adventures, the author refers to Don Quixote’s “encounter with a Windmill” (DQ 1.8): A squirting Night-walker . . . [encountered an artist and] not being able to compare with him in his way, much disparridged his abillities, whereupon, the young man to try his judgement, painted a Picture by a servant of his (being a Turks Head ) which was given to one Clynt, that deals in old Pictures, who bringing it to this skilfull Artist to sell, he took it for a choice Picture done by one Titian, a famous Painter, above 200. years agoe, and braggs it, To be both the glory and envy of the English Nation (like an ill Bird) bewraying his own nest, giving the glory of an English-man to a stranger, and his own folly to the World; But this I conceive is the best of his qualities, except some of Don Quick-zots Valour, which he shall have to encounter with a Windmill instead of a Picture, and content his Friends with Small Beer instead of Half-penny Loaves, but the Dung-cart being a Gyant, if not a Monster to him, made him retreat to Arundell; where he resides with glory, Till Fame records his future story; and then, The World shall know, and Strangers too be sorry, That English-men pertake in Arts chief glory.

(p. 376)

281. Dillington, Robert, Letter to Joseph Williamson. NA SP 18/97/35 Though few facts of the matter lie at hand, it appears that young Robert Dillington (d. 1664), who had matriculated at Queen’s College, Oxford, in 1653, assumes here the two eye-catching aliases of Knockerdown and Tuntroles. Did he perhaps have an assistant? In any event, Dillington addresses this letter of 12 May 1655 to his “most noble captain,” Joseph Williamson (1633–1701), and expresses mock regret for the latter’s recent but not altogether total defeat. Williamson, also of Queen’s College (B.A., 1654; M.A., by diploma, 1657), was in France at the time, serving as a tutor to some young men of quality, 2

Ungerer, “Recovering Unrecorded Quixote Allusions in Ephemeral English Publications of the Late 1650s,” Bodleian Library Record 17 (2000): 67.

190

cervantes in seventeenth-century england

one of whom appears to have been Dillington. Whatever the game that he and his charges may have been playing, Dillington alludes to the “houghing” (i.e. hamstringing) of Williamson’s horses. Though Dillington was probably speaking figuratively here, he would have his reader believe that the sad plight of Williamson’s horses inspired the epitaph that follows here—and thereby reveals that these frisky young men had at the very least heard of Don Quixote and his steed. He concludes his note with this postscript: An epitaph on Rosinante fraught with teares, Now lies interred within this cloister Rosinante that loved an oyster!

Whatever this was intended to mean (Cervantes’s Rocinante was not famous for loving oysters), young Williamson, who was considered an “active and popular tutor,” returned to Oxford in 1658, went on to become the keeper of the king’s library at Whitehall, and eventually served in a number of government posts, including that of England’s secretary of state.3 282. Flecknoe, Richard, A Relation of Ten Years Travels in Europe, Asia, Affrique, and America. F1232. UMI 1229:15 Thought by some to be an Irish priest, Flecknoe (d. 1678?), a traveler and a writer of both prose and verse, is probably best remembered for the present Relation and for being both satirized in Andrew Marvell’s “Fleckno, an English Priest at Rome” (1645) and posthumously skewered in John Dryden’s “Mac Flecknoe” (1682). As Knowles observes (no. 33), Flecknoe refers here to Don Quixote, Dulcinea, and Sancho Panza—specifically to Sancho’s island (introduced in DQ 1.7). In Letter no. IX, “To the same [Mademoiselle de Beauvais] from Genoa, Anno 45,” he writes: [T]he Common people . . . [have] onely the Liberty to hang themselves, if they please, for other Liberty they have none. Whence I see ’tis but a meer cheat this Popular Liberty, the Inchantment of the vulgar, and Geugaw they promise Children, to make them good Boyes; yet ’t has been, and ever will be the madnesse of the Common people to goe in quest of it, as Don Quixote did of his Dulcinea, or Sancho Pansa of his imaginarie Iland or Government, which, just like your floating Ilands, slips away from you, when you think to set foot on it. (pp. 23–4)

Also found in A True and Faithful Account of What Was Observed in Ten Years Travells: F1238 (1665), pp. 23–4. 3

Alan Marshall, Oxford DNB, 59:352–6.

1655

191

283. Overbury, Thomas, Thomas Overburie His Wife. O610. UMI 1784:21

For a reference to Don Quixote’s fulling mills, an allusion to DQ 1.20, see STC 18908 (1615); in this edition, the passage is found in “A Roaring Boy” on sig. I8v . 284. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3442. UMI 1512:9 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on pp. 349–50. 285. Riolan, Jean, Catalogus librorum rei medicæ, herbariæ, & chemiæ. R1523. UMI 2056:19 Like his father before him, Jean Riolan, the younger (1580–1657), was a French physician and anatomist known throughout Europe.4 Trained and deeply learned in Galenic medicine and known widely for his own writings (some of them translated into English), he is now remembered also for being an intolerant reactionary who refused to accept modern ideas—most famously, William Harvey’s ideas on the circulation of blood. Considering England’s complex awareness of Riolan, the catalogue at hand is remarkable for having been published in London by John Martin and James Allestrye at the sign of the Bell. In a section of the catalogue headed “Libri Italici, Hispanici” one finds “Don Quixote de la Mancha. 2 vol. 4o” (p. 36, 2nd pagination). 286. Sheppard, Samuel, Merlinus Anonymus. An Almanack, and No Almanack. UMI A2381d. (Thomason Tracts) 191: E.1488 [4] Following “A General Prognostication for the Year, 1655,” Desmus (as Sheppard calls himself ) inserts a “Catalogus Librorum, Books worth buying,” in which he lists: “Poems divine and moral, with the Trajedy [sic] of Democritus, and Don Quixot in Folio, written in Spanish by the learned & most famous Don Diego Forobosco Fool-late,5 and Englished by a person of honor; printed for H : M : in Saint Pauls Church-yard” (sig. C8r ). 287. Shirley, James, The Gentleman of Venice a Tragi-Comedie. S3468. UMI 298:3

This play was licensed 20 October 1639 for the Queen’s Company. Bentley notes that no comprehensive source for it is known, but cites Langbaine (An Account, 479), who says “the Intrigue between Florelli, Cornari, and Claudiana, 4 5

A fine overview is given by Nikolaus Mani, “Jean Riolan II (1580–1657) and Medical Research,” Bulletin of the History of Medicine, 42/1 (1968): 121–44. The “Don Diego” here appears to be Sheppard’s nonce elaboration on “Forobosco.” Several dramatists made use of the name, but the most apposite here is probably the bogus conjurer in the Fletcherian Fair Maid of the Inn (1626).

192

cervantes in seventeenth-century england

is borrowed (as I suppose) from a Novel out of Gayton’s Festivous Notes on Don Quixote.” Bentley continues: since “Gayton’s book was not published until 1654, Shirley could scarcely have used it in 1639” (Jacobean and Caroline Stage, 5.1113). In 1.1, nevertheless, as A. H. Mayor notes, 6 in a contentious conversation of the Duke of Venice’s amiable gardener, Roberto, and his shrewish wife, Ursula, she declares that the young duke may burn up the entire household by staying up late at night poring over books such as the aging romance Amadis, Alemán’s Guzmán de Alfarache (translated as The Rogue), and Don Quixote: Urs. You give him [the duke] to much reine; ’twould become him To follow his profession, and not look after Those gentlemanly sports. . . . He has cost you sweetly To bring him up, what use had he of learning? What benefit, but to endanger us, And with his ’poring 7 upon books at midnight, To set the house on fire, let him know how To rule a spade, as you ha [sic] done. Ro. He does so. . . . Go to. Urs. So, so the Dukes Garden shall be then Well look’t to, he deserves a Pension, For reading Amadis de gaule, and Guzman, And Don Quixote, but i’le read him a lecture. (p. 8)

Another edition in 1655: S3469 (UMI 1536:31), p. 8. 288. Skinner, Stephen, “Upon a Book Written by Mr. Stokes of the Art of Vaulting,” in William Stokes’s The Vaulting Master: or, The Art of Vaulting. S5728A For a reference to Rocinante and an allusion to DQ 2.40–41, see S5727 (1641). 289. Wild, Robert, The Incomparable Poem Gondibert Vindicated from the Wit-combats of Four Esquires, Clinias, Dametas, Sancho, and Jack Pudding. W2130. UMI 1559:38 One of the more liberal nonconformist ministers of his day, Robert Wild (1609–1679) apparently retained throughout his life what the DNB terms his “irregular wit” (21:223–5). Satirical verses, in fact, proved to be his most memorable and characteristic work. Though the piece at hand has been attributed to him somewhat uncertainly, one may be sure at least (as Knowles notes, no. 32) that the writer had Cervantes’s Sancho Panza in mind. Whereas Wild’s 6 7

Mayor, “Cervantes, with Especial Reference to Don Quijote, in English Literature,” B. Litt. thesis, University of Oxford (1926), 9. ’Poring: if not simply poring, the author may intend vapouring, something akin to light-brained swooning.

1655

193

title seems to promise some focus on the “Esquires,” a term used loosely here, each exemplar is a corrupt or buffoonish subordinate. Clinias and Dametas are called forth from Sidney’s Arcadia (where the first serves Cecropia, the second, Basilius) and Jack Pudding was drawn from current lore, which often held him to be an attendant on a mountebank (OED). The writer, however, probably Wild, is mainly interested in belittling Sir William D’Avenant for his Gondibert (1651).

@

1656

#

290. Cleveland, John, Poems by J. C. with Additions Never Before Printed. C4691. UMI 734:6 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on pp. 38–9. For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 90. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 95. 291. Cox, Robert, Actaeon and Diana. C6711. UMI 913:9 For allusions to DQ 1.8, see C6710 (1655); in this edition, the passage is found on p. 30. 292. Flecknoe, Richard, The Diarium, or Journall. F1212. UMI 143:8 As Knowles notes (no. 36), Flecknoe, working with “Burlesque Rhime or Drolling Verse” (title page), pays a left-handed compliment to Cervantes in an introductory essay, “Entrance into Style”: Being Diarium to write, Whose Genius shall I invite? Or of whose Muse invoke the favour To assist me in my Labour? Greek Aristophanes, or Plautus In Latin, where not many a fault is, Or in Spanish of Cervantes, Excellent in’s way I grant is, Or of Scarron le Malade, Best yet France has ever had.

(sig. A4v )

Paul Scarron (1610–1660) and his Roman comique are remembered here in terms of his being crippled during carnival time in 1638. 293. Fletcher, Richard, “The Publique Faith” in Ex otio negotium: or, Martiall His Epigrams Translated. With Sundry Poems and Fancies, by Richard Fletcher. M831. UMI (Thomason Tracts) 202: E.1597 [1] As Knowles notes (no. 34), this collection of poems, sometimes accredited to John Cleveland, includes an obscure satire entitled “The Publique Faith,” a dramatic monologue by a mountebank touting a show at a fair:

1656

195

Stand off my Masters: Tis your pence a piece . . . . . . . An everlasting Bale,1 Hell in Trunk-hose, Uncased, the Divel’s Don Quixot in prose. The Beast and the false Prophet twined together, The squint-eyed emblem of all sorts of weather. . . . . . . . But I fore-stall the show. Enter and see, Salute the Door, your Exit shall be free. In brief tis call’d Religions ease, or loss, For no one’s sufferd here to beare his cross. (pp. 129–31)

Also found in Poems by John Cleveland with Additions Never Before Printed: C4692/3 (1657), not present; C4694 (1659), pp. 89–91; C4695 (1661), pp. 87–9; C4696 (1662), p. 90; C4697 (1665), p. 90; C4698 (1669), p. 90. Also found in Alexander Brome’s Rump: or, An Exact Collection of the Choycest Poems and Songs Relating to the Late Times. By the Most Eminent Wits, from Anno 1639 to Anno 1661: B4851 (1662), pp. 124–6. 294. Heylyn, Peter, A Full Relation of Two Journeys. H1712. UMI 105:4 In “A Survey of the State of France,” book 1, chapter 2, the touring Heylyn, in describing a Norman inn, refers to Don Quixote’s host (DQ 1.17): [O]ur Chareter 2 brought us to the ruines of an house [in Tostes, Normandy], an Ale house I should scarce have thought it, and yet in spight of my teeth it must be an Inne, yea and that an honorable one, as Don Quixotes hoste told him. Despair of finding there either Bedding or Victuals, made me just like the fellow at the gallowes. (p. 14)

In book 2, chapter 2, in a passage about French women, Heylyn compares their appearance to that of Don Quixote. In the second passage here, he also paraphrases Sancho Panza’s observation about his own wife: Their hair is generally black, and indeed, somewhat blacker then a gracious lovelinesse would admit. . . . [B]lacknesse of the hair is then accounted for an ornament, when the face about which it hangeth, is of so perfect a complexion and symmetrie, that it giveth it a lustre. Then doth the hair set forth the face, as a shadow doth a picture. . . . But in this the French women are most unluckie. Don Quixote did not so deservedly assume to himself the name of The Knight of the ill-favoured face, as may they, that of the damosels of it. (p. 42) [I]f you be not careful of your time, you shall commonly finde her [the typical French housewife] speechless; her mouth being stopped with some of the reliques of last nights supper. To five meals a day she is very constant; and for varieties sake, will make some of them at street-door. She is an exceeding good soul (as 1 2

Bale: anguish, mental suffering, misery, torment, woe. Chareter: the driver of a two-wheeled vehicle known as a charet (OED).

196

cervantes in seventeenth-century england

Sancho Panco said of his wife) and one that will not pine her self, though her heirs smart for it. (p. 48)

The latter words here are quoted verbatim from either the 1620 or the 1652 English translation of Don Quixote. In each, Sancho describes his wife as “a good soule,” then goes on to say “my Teresa is one of those that will not pine her selfe, though her heyres smart for it” (DQ 2.25, p. 167 in 1620; p. 183 in 1652). In book 3, chapter 3, Heylyn returns again to Sancho. Having just written of the Latin tongue as mishandled by the French (“I had before read of the confusion of Babel”) and protested “I never knew a people that spake more words, and lesse Latine” (p. 150), he writes: Of thesee [sic] ingredients is the University of Orleans, compounded, if at the least it be lawfull to call it an University, as I think it be not. The name of Academie would beseem it better, and God grant (as Sanco Panco said of his wife) it be able to discharge that calling. I know that those names are indifferently used, but not properly. (p. 151)

Here Heylyn recalls Sancho’s response to the rosy picture that Don Quixote has painted of the future: I am fully perswaded, that although God would raine Kingdomes downe upon the earth, none of them would sit well on Mary Gutierez3 her head. For Sir, you must understand that shee’s not worth a Dodkin 4 for a Queene. To be a Countesse would agree with her better, and yet I pray God shee be able to discharge that calling. (1612 Shelton, DQ 1.7, p. 51)

295. Holland, Samuel, Don Zara del Fogo. H2437. UMI 148:12 (as H2439) As the subtitle of this work claims, it is “A Romance on Romances.” Though Holland (using the pen-name “Basilius Musophilus”) clearly had fun composing its absurdly inflated prose, this is nevertheless a work (as the title page of the 1660 issue claims) “In which the prodigious vanities of a great part of them are (as in a Mirrour) most lively represented, and so naturally personated, that the ingenious Reader, observing their deformities, may delightfully be instructed and invited to the pursuing of more honourable and profitable Studies.” More particularly, the heading on the first page of the narrative makes clear that this is the story of “Don Zara del Fogo: A Mock-Romance.” Well aware of Don Quixote (as hinted, for example, in the hero’s eventual arrival in Zardona-pola-Mancha), Holland casts his net for romances wide, but only once refers to Cervantes’s hero. Don Zara, said to be a descendant of “Thistram the Terrible” and Lancelot (p. 2), prays to the shades of St. George, Amadis, and Palmerin de Oliva. He dubs his sword Slay-a-Cow and his horse Founder-foot, and (himself an illiterate) takes as his squire the literate Soto. The 3 4

Mary Gutierez: the name of Sancho’s wife varies from place to place, but is most commonly Teresa. Dodkin: “a small Dutch coin. Hence any coin of very small value” (OED).

1656

197

first stop in the travels of the pair is at an inn where, after a night’s lodging, the host presents a bill, and Don Zara warns him never again to tempt “the rigour of Fate by a pecuniary proposall of a Knight Errant” (p. 27). Holland’s English mock-epic proceeds and ends at a considerable distance from Cervantes’s Spanish one—as when Soto is metamorphosed for a while into a goodly steed and when both Zara and Soto are rescued by a sea-horse and again when both together escape from trouble by catching a ride on the back of a sumptuously saddled winged pig (pp. 74, 36, 206). Holland is, nevertheless, quite aware of their Spanish predecessors, as he reveals in an exclamation at a point where Zara is having amorous problems: O Zara, Zara, these memorable Loves mentioned in those Authentick Histories of Parismus, The Knight of the Sun, or the Ingenuous5 Don Quixot-de-la-Mancha, upon the barren Mountains of Morenna, 6 bewailing the disdain of the Lady Dulcina-del-Toboso, are but Leaden Legends, compared with thy more solid sufferance, in whose brest the little God [Dan Cupid] seems solely to have seated himself, as in some Magnificent Metropolis, where he keeps his Court and gives Laws to the Nations of the earth. (pp. 178–9)

Another edition in 1656 with new title: Wit and Fancy in a Maze: or, The Incomparable Champion of Love and Beautie. A Mock-Romance, H2445 (UMI 1360:8), same pagination. Another edition with yet another title: Romancio-mastrix, H2443 (1660), same pagination. 296. Hyde, Thomas, Catalogus impressorum librorum Bibliothecæ Bodleianæ. O864. UMI 967:7 The learned Hyde (1636–1703), an Oxonian orientalist (Laudian professor of Arabic and regius professor of Hebrew) and cleric (archdeacon of Gloucester and canon of Christ Church) was also for many years Bodley’s librarian (1665– 1701). In the book catalogue at hand, under the heading “Miguel de Cervantes Saavedra,” he writes: El ingenioso Hidalgo Don Quixote de la Mancha, primera parte en 4 libr. Madrid. 1605. 4o C.31. Art. Same into English by Tho. Shelton.—4o L. 32. Art. Same into French by C. Oudin. Par. 1620. 8o C. 167. Art. The 2d part of the Hist. Of Don Quixote, into Engl. By Edw. Blount. Lond. 1620. 4o F. 12. Art. Same into French by F. De Rosset. Par. 1618. 8o C. 168. Art. 5

6

The OED records ingenuous in the seventeenth century as meaning noble in nature, generous, highminded (1599 et seq.) and also as guileless or innocent (though the earliest citation of the latter is dated 1673). It also notes a misuse of the word to mean ingenious. Since the form ingenious appears on the title page of Romancio-Mastrix, one of the first two meanings seems likely. Moreover the 1605 and 1615 Spanish title pages of Don Quixote both yield ingenioso. Spain’s mountain chain called the Sierra Morena separates La Mancha from Andalucia. It is, of course, the place in which Don Quixote chooses to prove his commitment to Dulcinea.

198

cervantes in seventeenth-century england

Exemplary Novells, or Romances, in 6 books; into Engl. By Don Diego PuedeSer [i.e., James Mabbe]. Lond. 1640. K. 4. 18. Art Et C. 2. 2. Art. Sedl. (p. 154)

297. K., P, The Surfeit to A B C. K515. UMI 152:5 Variously assigned to Philip King (brother of the bishop and poet Henry King), Philip Kynder, and P. Kirk, this curious work, as Ungerer points out (“Recovering Unrecorded Quixote Allusions,” no. 2), has a section on literary taste which yields an evaluative citation of Don Quixote: I far prefer Homers Ulysses before Don Quixot, as the more exquisite piece of Drollery. (p. 65)

298. Lloyd, David, The Legend of Captaine Jones. L2631. UMI 606:5 For a reference to brave Captain Jones’s desire to take on the bravest Spanish warriors, even Don Quixote, see STC 16614 (1631); in this edition, the passage is found on pp. 9–10. As Knowles notes (no. 35), there is another reference in this edition that is not found in earlier ones. In a commendatory poem signed W.T. there is a reference to Don Quixote killing a winged giant (DQ 1.8): Have you not heard of Jones that man of wonder [?] . . . . . . . . And yet no story a Romancer sings, That here exploited more stupendious things; Quixot a winged Gyant once did kill, That’s but a flying tale, beleiv’t [sic] who will.

(sig. A7v )

Other editions: L2632 (1659), sig. A7v , pp. 9–10; L2633 (1671), sig. A7v , pp. 9–10; L2634 (1671), sig. B7v , pp. 9–10. 299. Lluelyn, Martin, Men-Miracles. With Other Poems. L2626. UMI 606:4

For a reference to Don Quixote’s attack on a windmill (DQ 1.8), see L2625 (1646); in this edition, the passage is found on p. 64. 300. Newcastle, Margaret Cavendish, Natures Pictures Drawn by Fancies Pencil to the Life. N855. UMI 1575:38 Maid of honor to Queen Henrietta Maria, whereby she met and married the widower William Cavendish (created Marquess of Newcastle in 1643), Margaret Lucas Cavendish (1624?–1674) wrote voluminously—poems, essays, and plays, and even a biography of her husband. In the section of her Natures Pictures called “Heavens Library, Which Is Fames Palace Purged from Errors and Vices,” where Jove is asked to do some sorting, she alludes to Don Quixote: Then they came to Romances, where Jove said, all romances should be cast out but Don Quixot, by reason he hath so wittily abused all other Romances, Wherefore he shall be kept, and also have his Books writ in golden letters. (p. 360)

1656

199

A writer who elsewhere describes herself as being “of a lazy disposition” and “well armed with carlessness,”7 the marchioness here assumes rather carelessly that Don Quixote himself is the writer of books. Another edition: N856 (1671), p. 714. 301. Reynolds, John, The Triumphs of Gods Revenge. R1308A For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of Don-Quixote (Part 1) or The Travels of Persiles and Sigismunda. A Northern History, see STC 20943.3 (1622); in this edition, the passage is found on p. 80. 302. Seaman, Henry, A Second Edition of the New Almanack for the Year 1656: or, The Nocturnall Revised: Being Annotations upon the Late Mercurius Aëro-machus. A2374. UMI (Thomason Tracts) 70: E.490 [3] In a section headed “The Letter,” Seaman (fl. 1675) comments on the publication that has prompted him to take quill in hand; in it he alludes to DQ 1.8: This fellow hath . . . so disturbed, and moved the aire, that I cannot keep a Windmill I have in my head from running Sallengers round,8 a while with it; . . . I shall . . . confine my self to sit close upon the skirts of my Author, making some proper Annotations upon my present Don Quixot. (sig. A2r )

303. Vaughan, Thomas, Anthroposophia Theomagica: or, A Discourse of the Nature of Man and His State after Death. V143A. UMI 2660:9 For a casual reference comparing the squabbling of medieval schoolmen to “a Fight in Quixot,” see V143 (1650); in this edition, the passage is found on sig. B3r . 304. Vaughan, Thomas, Magia Adamica: or, The Antiquitie of Magic. V152. UMI 1877: 3 For a reference which says Don Quixote knew Dulcinea but never really saw her and another to Sancho Panza being tossed in a blanket (DQ 1.17), see V151 (1650); in this edition, the passages are found on pp. 81, 126.

7 8

The Worlds Olio (1655), sig. A3v . “Sellenger’s Round,” one of the most famous of dance tunes, was from an early date used also for setting songs and ballads (Simpson, British Broadside Ballad, 643–6).

@

1657

#

305. Cleveland, John, Poems by J. C. with Additions Never Before Printed. C4692. UMI 1438:4 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 39. For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 90. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 95. 306. Cokaine, Aston, The Obstinate Lady. C4896. UMI 486:27 Sir Aston Cokaine (1608–1684), a man of wealth who managed to lose it, was a poet, translator, and sometime playwright. His Obstinate Lady (c.1630–42; licensed 1656) was first published in 1657. In 2.1, Lorece, a fantastic gallant, tries to impress Vandona, a rich young widow, with his knowledge of the Antipodes, and in a nonsensical babble of names he cites Don Quixote as an author: I will give you the situation of the Countrey. Some of the ancient Geographers, as Heliodorus, the Knight o’th’Sun, Amadis de Gaul, and Palmerin d’Olivia, affirm it to lie a thousand Italian Miles from Istmos at Corinth; but some modern Writers, as Don Quixote, Parismus, Montelion, and Merlin, say, it is a Peninsula in Arabia felix, where the Phœnix is. (p. 16)

As Becker notes (Aufnahme, 66), Jacques, a drunken suitor, in 3.2 sings a song in which there are references to Don Quixote, Rocinante, Sancho Panza, and Sancho’s ass: Don Quixot’s Rosinant, And Sancho’s Asse Errant, And Bankes his Horse1 do want What she may brag of; They would ones breech much gall,2 And give one many a fall, Sufficient therewithall To break on[e]s crag3 off. 1 2

(p. 32)

Bankes his Horse: the Scottish showman Banks and his trick-performing horse were already a famous phenomenon in Shakespeare’s time. 3 The rider’s buttocks would be badly chafed. Crag: dialectal for “neck” (OED).

1657

201

Other editions: C4896A (1658). Also found in A Chain of Golden Poems: C4894 (1658), pp. 318, 344; C4894A (1659), pp. 318, 344. Also found in Choice Poems of Several Sorts: C4895 (1669), pp. 318, 344. Also found in Poems. With the Obstinate Lady: C4897 (1662), pp. 318, 344; C4897A (1662), pp. 318, 344. Also found in Small Poems of Divers Sorts: C4898 (1658), pp. 318, 344. 307. Crompton, Hugh, Poems by Hugh Crompton, the Son of Bacchus and God-son of Apollo. C7029. UMI 62:5 Crompton’s jocose subtitle conveys the prevailing tone of his volume: “Being a fardle of Fancies, or a medley of Musick, stewed in four Ounces of Oyl of Epigrams.” Here, in a poem called “Commendation,” the first line of which is “My Mistresse is fair, my Mistresse is rare” (p. 32) and the closing line of which is “Thy love is enough for me” (p. 34), the fourth stanza uses Don Quixote as a kind of high-flying rhetorical measuring gauge: An armfull of blisse, so sacred as this, Jove never composed nor courted; With angels so bright, and full of delight The poetick pens never sported. Don Quixot would be in combate with me, Did his quick knowledge but discry My fancy had flown so high. (p. 33; sig. D1r )

308. Hatcher, J., Letter addressed to George Williamson. NA SP 18/158/133

Partly illegible, partly in code, and otherwise very difficult to read, this undated letter from J. Hatcher to George Williamson nevertheless yields references to “my dulcinea,” “Don Q[U]IXOTE of ye manche,” and “Sanco,” as well as three snippets that focus on Cardenio, the madman whom Don Quixote and Sancho meet in the Sierra Morena. These three fragments are “Cardenio of Estramadura,” “Cardenio is growne an honest man,” and “he very much suspected it from Cardenio.” Clearly the name “Cardenio” is itself a part of the code. More coherent is a passage alluding to Don Quixote 1.20. The end of Cervantes’s nineteenth chapter and the beginning of the twentieth relate how Don Quixote and Sancho arrive late one day at a grassy valley so inviting that they unpack their food and enjoy it there. Soon thereafter, since Sancho is thirsty and surmises that the lush green grass in the valley must indicate a nearby brook or spring, the two men agree to walk forward into the darkness of the night. Before long, however, they begin to hear strange noises that terrify them, and not until morning do they discover that what they have heard is the six pounding hammers of a fulling mill—a water-powered machine for

202

cervantes in seventeenth-century england

cleaning and thickening cloth by beating and washing it. The relevant passage in Hatcher’s letter begins and ends thus: Never was Don Quixote more affrighted at the noise of the . . . fuller’s mills than I was at the receipt of your letter. I found it in my father’s hands, opened, and he reading of it; knowing it came from Oxford, and that you presently4 much suspected it was some discourse of 158.5

And the rest is mystery. 309. Heylyn, Peter, Cosmographie. H1690. UMI 715:3 For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona, an allusion to DQ 1.29 et seq., and to Sancho Panza’s island of Barataria, an allusion to DQ 2.45 et seq., see H1689 (1652); in this edition, the passage is found on pp. 1094–5 (sig. Hhhhh5v –6r ). 310. London, William, A Catalogue of the Most Vendible Books in England. L2849. UMI 282:16 London, a bookseller in Newcastle-upon-Tyne, is notable mainly for this extraordinary Catalogue, which lists an estimated 4,500 titles. 6 In an epistle addressed to the reader, London reveals his prejudice against the genre of romances and quotes Montaigne to support his point: I do indeed take less paines to promote their study though I hinder not their sale. . . . They are the least usefull of any. . . . [H]eare a Learned Author [in a shoulder note: “Ld Mount. Essayes”] speak of the first; Romances are the trash of writings, and t[h]ey could never have the Credit so much as to allure my youth to delight in them; 7 The wonder in this is the greater, that he was a French man. The matter is not so small an Evil as the manner, The language is indeed the kernell of worth, but the design is like the green Walnut, that both defiles all it touches, and is bitter in the tast, unless you peel the bitterness away, which how to do in Romances I am ignorant to direct. (sig. C2r–v )

In a section with a running head “Romances, Poems, and Playes,” under “Romances,” he lists “Don Quixot folio” (sig. Ee4r ). Another edition: L2850 (1658), same pagination. 4 5

6 7

Presently: immediately. Because of the present condition of the letter, this last passage is quoted from the precis in Calendar of State Papers, Domestic Series, 1657–58, ed. Mary Anne Everett Green (London: HMSO, 1884; repr. Vaduz: Kraus, 1965), 253. Marja Smolenaars, Oxford DNB, 34:355. Here London recalls a passage in which Montaigne writes of his own childhood reading: “For as regards the Lancelots of the Lake, the Amadises, the Huons of Bordeaux, and such books of rubbish on which children waste their time, I did not know even their names, and I still do not know their substance, so strict was my discipline.” Found in “Of the Education of Children,” The Complete Essays of Montaigne, trans. Donald M. Frame (Stanford, CA: Stanford University Press, 1965), 130.

1657

203

311. Lower, William, Don Japhet of Armenia. BL Add. MS 28723 A royalist who had fought in the Civil War and been knighted (1645), Sir William Lower (c.1610–1662) moved abroad during the Interregnum (1655– 61). The present work, translated from Paul Scarron’s Don Japhet d’Arménie (1647), depicts some of the exploits of Japhet, fool to Charles V. Of this royal entertainer, the Commander says: I will receaue this second Don Quichott. . . . [Alvaro observes:] He’s an accomplish’d foole, if ere was one. (p. 48)

312. M., T., The Life of a Satyrical Puppy, Called Nim. M82a. UMI 1128:4 (as M1411) and 1725:55 (as M82a)

This work is sometimes attributed to Thomas May (1595–1650). As Knowles notes (no. 37), Nim, in the fifteenth and final chapter, goes to a tavern, sends for his man, Oliver Bung, and then orders a gallon of wine and the drawer’s absence. Speaking of Bung, he says: I had him sit, drink, and expect alteration. By that time I had shar’d halfe the Wine, a strange humor possest my Brain, and begot rare imaginations! such as fool’d Don-Quixot, uttering in a lamentable veine this high and mighty sense. (p. 114)

313. Perrott, Charles, Letter to Joseph Williamson. NA SP 18/153/54 In early 1657, Charles Perrott addressed a letter to his temporarily exiled friend Joseph Williamson (1633–1706), who had taken up teaching in Saumur, a town in France on the Loire River. Writing as he does from Paris, Perrott is able to relay to Williamson the sobering fact that “The news from England is of plots and treasons, yea of gunpowder treasons, that would have sent the Protector to heaven in a fiery chariot.”8 He softens his news, however, with a light touch. Apparently responding to something Williamson has written about a young woman, real or imagined, Perrott summons up thoughts of Don Quixote, Sancho, and Dulcinea. He writes: [W]hat way can I take to acquitt myselfe of that glorious title of Knight Errant? yet (me thinkes) whilst I am writing I fancy some little Analogy, [with?] that greate Exploict upon the windmills and quit my selfe as ill being so pitifully lost in your Quarter sheete9 I doe not ambitiously weare the name of Don but had we had the happines of your conduct I would have stood Candidate for a Squireship and endeavoured to have approove[d] myselfe a trusty Sancha Pancha to have followed soe redoubted a knight in the Quest of his Dear Dulcinea. 8

9

This first portion of the letter is based on a precis in Calendar of State Papers Domestic: Interregnum, 1656–7, ed. Mary Anne Everett Green (London: HMSO 1883), 250. Oliver Cromwell was named Lord Protector of England, Scotland, and Ireland in 1653 and held that post until his death in 1658. Quarter sheete: apparently referring to the somewhat small-sized paper on which Williamson has written to him.

204

cervantes in seventeenth-century england

314. Pulleyn, Octavian, Catalogus librorum. P4201. UMI 968:4 Pulleyn offered books for sale at his shop at the Sign of the Rose near St. Paul’s. In the catalogue here, under the heading “Libri Italiano,” he lists the following strange title: Il Novelliete Castigliano di Michel Cervantes Sauvedra 8.

(p. 100)

315. Quevedo y Villegas, Francisco de, The Life and Adventures of Buscon. Q190. UMI (Thomason Tracts) 200: E.1585 [2] In translating Quevedo’s Historia de la vida del Buscón (1626), John Davies of Kidwelly (1625–1693) here takes up one of the major Spanish picaresque narratives of the period. In a section headed “Buscon is sent to School, and the pleasant adventure which befell him, whilest he was King of the Scholars,” there is a reference to both Don Quixote and Rocinante: The day of Triumph being come, I was mounted upon a Rocinant of Don Quixot, a perfect Enchanters-horse, the leanest that was ever seen. . . . To be short, he was a dumb witness who accused his Master of the austere life, and the many fasting dayes he forced him to keep, by detaining the better half of his sustenance from him. (p. 15; sig. B8r )

In a section headed “Buscon returns to Madrid, and in the way fals into the company of Piedescaux, who said he was a Knight of the Order of Industrie,” Buscon begins his journey mounted on an ass and compares himself to Sancho Panza: In the mean time I was accoutred much like Sancho Panza, Don Quixot’s Squire: I wish’d very heartily that I might not meet any one in the way, least I would loose my self. (p. 153; sig. L5r )

Another edition: Q191a (1670), pp. 19 (sig. B2r ), 121 (sig. H5r ). 316. Reynolds, John, The Triumphs of Gods Revenge. R1309. UMI 776:36 For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of Don-Quixote (Part 1) or The Travels of Persiles and Sigismunda. A Northern History, see STC 20943.3 (1622); in this edition, the passage is found on p. 80. 317. Sprigg, William, Philosophicall Essayes with Brief Adviso’s. S5080. UMI 1537:7

Although Sprigg (1633–c.1701) was an Oxford man (Lincoln College, B.A. 1652, M.A. 1655) and part of a group there that included John Locke, Robert Boyle, and Christopher Wren, he later moved on to Gray’s Inn (1659) and Cambridge University (1659)—and eventually the Irish parliament. He is now best remembered as the author of the tellingly titled Modest Plea for an Equal CommonWealth Against Monarchy (1659), but his first publication, issued anonymously,

1657

205

is the work at hand.10 Here, in his first essay (“De Logica”), he observes that the Muses, whether naked like the Graces or well appareled by Rhetorick, can be “as beautifull as Madam Poetry, and be as much Courted as Romances” (pp. 1–2). And in a later piece titled “Of a Melancholy Man” (a common character type of the time) he writes of one who sees everything “through the false glasse of his magnifying Fancy” and is thereby misled “into as ridiculous a belief as that of Don Quixot” (p. 37). For sample incidents of the knight’s perceptions he cites the windmills, [perceived as] Gyants; Papermils, Enchanted Castles; and the bearded Goats of Wales, formidable Spaniards with great muschadoes.11 At the sound of a Sow-gelders horne, he prepares for an incounter, supposing himselfe challenged to a duel by the great Gyant Aldeberoni Fusco Foni. (p. 37)

Sprigg recalls these examples from Don Quixote 1.2, 1.8, and probably 1.20. On his own, apparently, he adds Aldebaran, a giant red star in the constellation Taurus. 318. Urfé, Honoré d’, Astrea. A Romance, Written in French and Translated by a Person of Quality. U132. UMI 584:7, 8 The five-volume L’Astrée of D’Urfé (1567–1625), published early in the century (1607–27), was a widely read sentimental-pastoral romance much indebted to such predecessors as the Amadís de Gaula and Pastor fido. In this English incarnation of D’Urfé’s work a brief address “To the Reader” (it is signed “J.D.”—probably John Davies [1625–1693]), a comparison of old romances with modern ones, occasions a “Quixoticall” allusion: What was before censur’d as extravagance of imagination, is now reconcil’d to probability, and restrain’d by judgement. What falsly ravish’d the eager apprehension into amazement at impertinent and Quixoticall Attempts, does now but gently enflame the minde into an æmulation of the perfections, & a sympathy for the weakeness & sufferings it finds represented. (sig. A2r–v )

319. Webster, John, The Tragedy of the Dutchesse of Malfy. W1222. UMI 1271:7

For strong verbal echoes in the language of 3.1 (DQ 1.22) and 3.2 (DQ 1.28) and interesting parallels between a passage in 5.5 and DQ 1.21 and DQ 2.6, see STC 25176 (1623); in this edition, the passages are found on sigs. D4v , E2r , K4r .

10 11

Richard L. Greaves, Oxford DNB, 51:990–1. In his “Errata,” Sprigg begs the reader to correct the spelling of muschado to read “Mustachio’s” and notes “Humanum est erraro.”

@

1658

#

320. Brooke, Nathaniel, “Books in the Press,” in Edward Phillips’s The New World of English Words. P2068. UMI 286:9 Phillips is probably best known now for the volume at hand, wherein, as Knowles notes (“Cervantes and English Literature”, 281), Nathaniel Brooke of the Angel in Cornhill advertises various “Books in the Press and now printing,” among which is The History of Donquixiot, or the Knight of the Ill Favoured Face: a Comedy (sig. Ss4r ). Gertrude Marian Sibley 1 notes further that an advertisement in Wit and Drollery (1661) says it is in press, and that “It appears in Kirkman’s play list of 1661” (Greg, Masques, lxiii).2 Although E[dward] Phillips (in Theatrum Poetarum, 1675, p. 160) goes so far as to name Robert Baron as its author, there seems to be no sure foundation for such a statement. Further references to the play, nonetheless, appear in John Selden’s »Â·ÌËÒ˘o Ú [Theanthr¯opos]: or, God Made Man (1661), and John Cotgrave’s The Wits Interpreter (1662). In short, enough references occur to suggest it might once have existed, but no text of such a play appears to have survived. See Brooke’s “Books Very Lately Printed, and in the Press” (1658), infra. As a postscript to the puzzle, one might note that Baron’s twenty-firstcentury biographer asserts that his final work was “an elaborately annotated play entitled Mirza” of 1655 (David Kathman, Oxford DNB, 4.19) and that Baron died suddenly and without leaving a will in 1658. Sudden death might help to explain why the Don Quixote comedy was still in the press in 1658 or even why no copies of it may be found (perhaps the book was never actually published). One would be harder put to explain why the book was still being advertised several years later. 321. Brooke, Nathaniel, “Books Very Lately Printed, and in the Press,” in Thomas Flatman’s Naps upon Parnassus. F1140. UMI (Thomason Tracts) 229: E.1840 [1]

At the end of the volume, in a catalogue of books sold by Nathaniel Brooke at the Angel in Cornhill, under the heading “Books very lately Printed, and in the Press now printing,” no. 10 is “The History of Donquixiot [sic], or the Knight of the ill-favoured face; a Comedy” (sig. H1r ). See supra.

1 2

Sibley, The Lost Plays and Masques 1500–1642 (Ithaca, NY: Cornell University Press, 1933), 44–5. Sibley refers to W. W. Greg, A List of Masques, Pageants, &c. (London: Blades, East, and Blades, 1902).

1658

207

322. Cleveland, John, Poems, Characters, and Letters. C4692A. UMI 2493:4

For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 28. For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 79. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 87. Another edition in 1658: C4693, pp. 28–9, 87, 95. 323. Cokaine, Aston, A Chain of Golden Poems. C4894. UMI 274:1 For a poem composed in Spanish, translated into English, and called “Don Quixot. Quarta parte, cap. 33,” see Small Poems of Divers Sorts, C4898, (1658); in this edition, the passage is found on pp. 171–2. For references to Don Quixote’s Rocinante and Sancho Panza’s “ass errant” and to Don Quixote as a modern writer, see The Obstinate Lady, C4896 (1657); in this edition, the passages are found on pp. 318, 344. There is an additional poem here in “Epigrams The Second Book,” poem no. 8: To Dulcinea. Dulcinea (it seems) bears me a grutch3 Cause of my Love to her I talk so much. To love, and have no vent at all, would break An heart, therefore give Lovers leave to speak. But be appeas’d (fair Maid) for I’le be sworn I love thee vertuous, vicious O thee should scorn. (p. 197; sig. O3r )

See also: C4894A (1659), pp. 171–72, 197, 318, 344. Also found in Poems. With the Obstinate Lady: C4897 (1662), p. 197; C4897A (1662), p. 197. Also found in Small Poems of Divers Sorts: C4898 (1658), p. 197. Also found in Choice Poems of Several Sorts: C4895 (1669), p. 197. 324. Cokaine, Aston, The Obstinate Lady. C4896A For references to Don Quixote’s Rocinante and Sancho Panza’s “ass errant” and to Don Quixote as a modern writer, see The Obstinate Lady, C4896 (1657), pp. 318, 344. 3

Grutch: complaint, grudge (OED).

208

cervantes in seventeenth-century england

325. Cokaine, Aston, Small Poems of Divers Sorts. C4898. UMI 1280:5

For an allusion to Dulcinea in an epigram, see C4894 (1658); in this edition, the passage is found on p. 197. For references to Don Quixote’s Rocinante and Sancho Panza’s “ass errant” and to Don Quixote as a modern writer, see The Obstinate Lady, C4896 (1657); in this edition, the passages are found on pp. 318, 344. Poem no. 72, “Don Quixot, Quarta parte, Cap. 33,” is based generally on Cervantes’s story of El curioso impertinente. More specifically, it is based on a passage there which, translated, reads “A good woman is . . . like a mirror of clear, shining glass, but any breath that touches this mirror will cloud and dim it.” This is a lead-in to a poem beginning “One never should experiment | On Woman, who is made of glass.”4 Cockaine’s response, printed here errors and all, reads: Es de vidrio la Muger, Pero no se ha de provar, Si se puede, O no quebrar; Porque to do podria ser. Y es mas facil el quebrar se, Y no es cordura poner se A peligro de romperse Lo que no puede soldar se. Yen esto opinion esten Tados, yen r’azon la fundo, Que si ay Danaes en el mundo. Ay pluvias de Oro tambien. Englished Of Women. A Woman is of Glass, or weaker, And should not be put to the proof; Or if she be, not as to break her; Which is a thing facile enough. Glass is crack’d with an easie stroke: And it no wisdom is to put That within danger to be broke, Which never can be solder’d up. All men of an Opinion are, And it upon this reason ground, That if there any Danaes were, Gold Showers also would be found.5 4 5

(pp. 171–2)

The Ingenious Hidalgo Don Quixote de la Mancha, 1.33, trans. John Rutherford, 303–4. Danae, in Greek mythology, was loved by Zeus, who came to visit her in the form of a shower of gold.

1658

209

326. Flatman, Thomas, Naps upon Parnassus. F1140. UMI (Thomason Tracts) 229: E.1840 [1]

Flatman (1635–1688) was a student of Winchester and New College, a persistent poet, a miniaturist, and eventually Cambridge M.A. per lit. reg. (1666). Here (as Knowles notes, no. 40), he refers to Gayton’s Pleasant Notes on Don Quixote (q.v.) in “the Epistle Dedicatory Made by the Authour . . . to His Now Adopted Mother, the University of Cambridge”: Nor would I have you at all wonder, that so many of my Friends are pleased to empty the Quivers of their Ingenuity against the Buts 6 of my Poems, to Descant on me, and Paraphrase on my Text with their several harmless Glosses; for we all know, ’tis the famous Don Quixot’s highest honour to have Gayton’s Festivous Notes written on Him. (sig. C6v )

The volume also includes a catalogue of books sold by Nathaniel Brooke, q.v. supra. 327. Flecknoe, Richard, Enigmaticall Characters, All Taken to the Life, from Several Persons, Humours, & Dispositions. F1213. UMI 67:25 As Knowles notes (no. 39), Flecknoe refers to Don Quixote’s love for Dulcinea in “Character of a Novice”: He is just like a young Lover, and his order is his Mistresse, who makes a fool of him, whilest he Idolatrizes it more than your French Inamourists do their Phillis’s and Cloris’s, and Don Quixots love to Dulcinea was nothing so extravagant. (p. 46, really p. 47)

Other editions: Sixtynine Enigmatical Characters, F1236 (1665), p. 52; however, in Fifty Five Enigmatical Characters, F1224 (1665), the “Character of a Novice” has undergone a metamorphosis, and Dulcinea is not mentioned. 328. La Serre, Jean Puget de, The Mirrour Which Flatters Not. Transcrib’d English from the French, by T. C. L458. UMI 765:17 For a reference to Sancho Panza as one who provokes readers to laughter, see STC 20490 (1639); in this edition of Thomas Cary’s translation of Le miroir qui ne flatte point, the passage is found on sig. a9r . 329. London, William, A Catalogue of the Most Vendible Books in England. L2850. UMI (Thomason Tracts) 142: E.955 (1) London, the northern bookseller who had already produced a huge book catalogue in 1657 (L2849), addresses himself this time specifically To the Gentry, Ministers of the Gospel and Others. Of a Peculiar Choice of the Wise, Learned and Studious of the Northern Counties of Northumberland, Bppk [i.e. Bishopric] of Durham, Westmerland, and Cumberland. (sig. A3r ) 6

Buts: i.e. “butts,” marks on which targets are set for archery practice (OED).

210

cervantes in seventeenth-century england

His catalogue, he says, is unlike any other in that it lists authors and books alphabetically by subject. Under the running head “Romances, Poems, and Playes,” under “Romances,” is: Don Quixot. Folio. (sig. Ee4r )

330. Morris, John, The Library of John Morris. Old Royal Library Catalogue MS (Departmental Archives, Department of Printed Books, British Museum), no pressmark.7 John Morris (c.1580–1658) was a man of means whose wealth descended to him from his father’s monopoly for a waterworks that supplied piped water to the City of London. Thus enabled to be both a dilettante and a gentleman-scholar, Morris also became a first-rate bookman, in fact a collector who in his last will referred to his library as “the chiefest pleasure and employment of my life.” One might conjecture that his stance as a moderate Puritan helped to safeguard his collection from sequestering in his later years. Be that as it may, after his death and the restoration of Charles II, his books made up the first major accession accepted by Thomas Ross, the librarian of the Old Royal Library of St. James’s. Since it is impossible to ascertain when Morris acquired particular items in his collection, his Cervantes volumes are clustered here under the date of his death and in the order of their appearance in the author catalogue of the Old Royal Library. This catalogue, a folio manuscript, records the following six books by Cervantes: Comedias y Entremeses, 4o Mad[rid]. 1615 Bodley Vet. G.2.e.2. Novellas Esemplares, 8o Pampl[ona]. 1617 1074.d.12 Novellas Esemplares, 8o Sev[ille]. 1624 Don Quixote, 8o Lisb[on]. 1605 C.58.c.26 Don Quixote part 2, 4o Mad[rid] 1074.d.13 Travaux de Persile & de Sigismonde. 8o Par[is]. 1618 C.58.bb.15

Particularly interesting here is the initial item: it is a rare English notice of Cervantes’s writing for the theater. 7

All of the facts in this entry are based on T. A. Birrell, The Library of John Morris. The Reconstruction of a Seventeenth-century Collection (London: British Museum Publications, 1976). Comments on Morris himself are based on Birrell’s introduction (pp. xiii–xiv), and the individual entries are taken from his transcription of the original text (p. 17).

1658

211

331. Phillips, Edward, The Mysteries of Love & Eloquence. P2066. UMI 328:15

In “A short Advertisement to the Reader, by way of Introduction, for his better understanding of the Mysteries of Eloquence and Complementing,” Phillips (1630–1696?), a nephew and pupil of John Milton and himself tutor to the sons of John Evelyn and Philip Herbert, begins with a reference to Don Quixote: Having already in my Epistle to the Coy Madams treated, or rather traversed, the passion of Love, with a serious and light fancie, like Gallen and Donquixiot,8 mixt together, to please as well the Stoical Student, as the most airy and fantastical Gallant: I have since thought it no less my duty to discourse of these two other mysteries, of Eloquence and Complementing. (sig. a2v )

Other editions: P2067(1685), sig. a2v ; The Beau’s Academy, P2064 (1699). 332. Rowley, William, Thomas Dekker, and John Ford, The Witch of Edmonton. R2097. UMI 367:17 Although acted much earlier by Prince Charles’s Men (payment on 29 December 1621), The Witch of Edmonton was not published until 1658.9 In 4.2, as Becker (Aufnatime, 53) notes, there is probably an allusion to Don Quixote 1.8. Frank has seen what he thinks is a ghost and tries to rationalize the visitation: Then ’twas my Fancy. Some Wind-mill in my brains for want of sleep. (sig. G4v )

333. Sanderson, William, Peter Pursued: or, Dr. Heylin Overtaken, Arrested, and Arraigned. S649. UMI 290:17 A royalist historian, Sir William Sanderson (1586?–1676) responds here to Peter Heylyn’s attacks on him in Examen Historicum.10 Sanderson informs Heylyn “that wise men look upon your language, like the barking at the Moon; or a mad-man throwing up a sharp stone, which falls on his own pate” (p. 22). In a section headed “The Arraignment,” he cites an allusion made by Heylyn to Don Quixote 2.25–6. These chapters relate how Ginés de Pasamonte passes himself off as “Maese Pedro,” a puppet-master who performs not only with puppets but also a fortune-telling ape (see Fig. 15). Sanderson writes: [W]hat cause have I to complain, when in his said Preface . . . he compares most of our Scripturients (as he stiles them) (Ecclesiastical or Civil) with the ApeCarrier in the History of Don Quixot, who cared not if his Comedys had as many Errors, as there are motes in the Sun, so he might get mony by them? Well boul’d 8 9 10

Phillips manages here to mangle the names of both Don Quixote and Galen (c.120–c.20 b.c.), the Greek physician. John Tucker Murray, English Dramatic Companies, 1558–1642, vol. 2 (London: Constable, 1910), 193. Since it appears that the only known copies of Heylyn’s Examen Historicum are dated 1659 (see herein Heylyn, 1659), one may well be puzzled as to how Sanderson could allude to its contents in 1658. Whether or not an earlier edition appeared in 1658, it has been claimed that Sanderson had the “last word” in the squabble here in his Peter Pursued. See D. R. Woolf, Oxford DNB, 48:887–8.

212

cervantes in seventeenth-century england

15. Though the puppeteer’s tailless ape may be discerned clambering up on a ceiling brace near the end of Don Quixote’s sword, the artist is clearly more interested in Don Quixote’s assault on the hapless Moorish puppets—depicted here in John Phillips’s 1687 History of the Most Renowned Don Quixote. This picture is the upper one of two engravings on the verso of a leaf placed between pp. 416–17. Phillips writes: “Don Quixote . . . seeing such a Cluster of Moors . . . thought it now high Time to succour the flying Lovers; and to that purpose starting up briskly upon his Feet, he cry’d out in a most violent fury: For whom do they take me here? . . . He that stirs an Inch farther moves to his destruction. And so saying, up he leaps upon the Table, and lays at the poor Innocent Puppets” (p. 417).

1658

213

[i.e., bowled] Peter! But here his Amanuensis, or Clerk, Reader, made bold to beg his Masters Animadversion, whether Don Quixot were a Poet and made playes, or a Scripturient Ecclesiastical, or Civil, because he is quoted comparative with such Writers? Neither so nor so (said the Doctor) he was a warlike Champion, such another as St. George; Then (said his Man) you being Testis Temporum, and your Treatise being stiled Examen Historicum, let him be called St. Don, or the other Don George, both alike Champions, and alike fit to be Recorded. (pp. 39–40)

334. Spencer, John,  ·ÈÌ· Í·È ·Î·È· [Kaina kai palaia] Things New and Old: or, A Storehouse of Similies. S4960. UMI 549:6 As Knowles notes (no. 38), “Michael de Cervantes” appears among “The Names of the severall Authors cited in this Collection [sig. a1v ].” Although Spencer was a librarian (at Sion College, London), he apparently “confused Mateo Aleman and Cervantes; no quotation from Cervantes appears, but there is one from Guzman de Alfarache on page 225. Aleman’s name does not appear in ‘The Names of the severall Authors cited.’ ” 335. Vaux, Francis, Detur Pulchriori: or, A Poem in the Praise of the University of Oxford. V164. UMI 1318:39 Addressing “Mother” Oxford here, Vaux, an Oxonian of Queen’s College, observes that [U]nhallowed lips would stain with Satyrs flowing from a Wormwood brain Thy comely feature, with a Viperous strife Gnawing those bowels that did give them life.

Some, he continues, would Spit words far more corrupted then their lungs, But since ’tis not my scope to answer those, Whose names Donquixoted doe live in prose, And never knew that Poets only claim Maugre11 the teeth of time, æternall fame, Then rouse my Muse and with immortall lays Caroll unto the world fam’d Oxford’s praise.

11

Maugre: in spite of; notwithstanding (OED).

(pp. 1–2)

@

1659

#

336. Birkenhead, John, Paul’s Churchyard. B2970. UMI (Thomason Tracts) 147: E. 989 (7)

In this mock catalogue of books offered for sale, Sir John Birkenhead refers to Cervantes in “Centuria Secunda,” “Classis VI. Twenty new Acts of Parliament,” no. 135: An Act that the Author of Don Quixot shall explain whom he means by the Parliament of Death. (sig. B2r )

Whether he is really puzzled or not, Birkenhead here calls to mind the chapter in which Don Quixote and Sancho encounter a cart carrying (among others) Death, an angel, an emperor, Cupid, and a knight. These are all actors traveling between two villages where they have just performed or are about to perform Las cortes de la muerte—that is, The Parliament of Death (DQ 2.11). 337. C., I., Peters Patern Newly Revived, with Additions: or, The Perfect Path to Worldly Happiness. C783A. UMI 2346:12 This is a comedic-satiric work masquerading as a funeral sermon delivered at the interment of Hugh Peters, a prominent Independent divine who in his heyday resided in Oliver Cromwell’s Whitehall—a man who in 1659 was still very much alive. About a year later, however, on 16 October 1660, charged with abetting the death of Charles I, Peters was executed at Charing Cross. The title page of this therefore premonitory “sermon” is put forth as the work of I. C., who is identified as both a translator of Job and “one of the Triers.” Thus the writer invites readers to wonder if he could be Joseph Caryl, another Independent cleric, who was well known at the time both for his ongoing, twelve-volume Exposition . . . on the Book of Job (published seriatum 1643–6) and for serving in the Westminster Assembly as one of the triers for the approbation of ministers in 1653. The title page yields other more or less palpable hints: (1) it identifies the author as a mere “Translator of Pineda upon Job” (Caryl in his own preface cites three predecessors who have worked on Job, but neglects to mention either the Jesuit Juan de Pineda [1558–1637] or his masterly, two-folio Commentarii in librum Job [1597–1601]1 ); (2) as a leitmotif for Peters Patern it offers “gusman, Lib. 1, 2. Verse 4.” (i.e. Mateo Alemán’s Vida del pícaro Guzmán de Alfarache, best known to the English in James Mabbe’s 1622 translation as The Rogue, wherein the second chapter explores Guzman’s bastardy); and (3) it 1

Enciclopedia universal ilustrada, vol. 49 (Madrid: Espasa-Calpa, S.A., 1966), 1006–8.

1659

215

underlines ironically all of the preceding with the ubiquitous Latinization after Aristotle: “Amicus Plato, sed magis amica veritas.”2 Whoever he was, the anonymous author of Peters Patern continues to define the nature of his chosen persona with the words he selects to introduce and then open his mock-sermon: After they had sang the two first staves of the tenth hymn of Larners twelve Songs of Sion, to the tune of The Knave of Clubs, the Parson proceeded in his Text as followeth: Gusman, lib.2 Chap. 3. Verse 26. The latter part of the Words. Let us while we live make use of our time, for a mans life is ended in a day.” (p. 3)

The William Larner mentioned here was yet another Independent, an author whose own religious and political stance had long since been clarified in his Vindication of Every Free-mans Libertie Against All Arbitrary Power and Government (1646). In and out of prison over a number of years, Larner was in general a man too vocal for his own good.3 Following the singing here of a Larner hymn to an unlikely tune, I.C. proceeds to his sermon, the text of which is supposedly drawn from Alemán’s Rogue. Not surprisingly, it turns out that “lib. 2 Chap. 3. Verse 26” of The Rogue is unconcerned with uplifting moments in a brief life, and neither it nor its Rogue predecessor on the title page is divided into verses. Having thus positioned himself, I.C. continues with a rhetorically mocking exposition of his supposed Spanish text. Taking a cue from writers like Caryl, whose long exegesis of Job begins with an explication of “There was” (as in “There was a man in the Land of Uz . . . ” [1.18]), I. C. first explicates “Let us,” then moves onward to Don Quixote: First then of the first, that is to say, of the words, Let us; But here you must give me leave to excuse the great abuses that have been put upon these two poor innocent monosyllables. I confesse they have been crum’d thicker than Habakkuks brown loaf into the poridge of the Cavaleers, common call’d the Common-Prayer Book, when they cry Let us pray, Let us kneel; But believe it, my beloved, I have now rebaptized them, and wash’d them cleaner from that prophanation, than ever tripes were scowr’d from their filth by the nicest Huswife in Field Lane. Now being thus purifi’d, you will find Let us, to signifie sometimes as much as, hinder us not, Quixot the 12. verse 8. Hinder me not fair Dulcina from the enjoyment of your sweet Company, that is Let me enjoy your sweet Company. (p. 4)

I.C. turns here to the apocryphal fourteenth book of Daniel (sometimes called “Bel and the Dragon”), which tells how an angel of the Lord snatched up Habakkuk by the hair of his head and carried him off to Babylon—with Habakkuk still holding in his hands a bowl of stew-with-bread, which, on his arrival, he presented to Daniel, who had been imprisoned there by a wicked king. Like Gusman, Habbakuk is pretty clearly mentioned for tonal reasons. So 2 3

“Plato is dear to me, but dearer still is truth,” going back to a passage in the Ethica Nicomachea (1069a). P. R. S. Barker, Oxford DNB, 32:582–3.

216

cervantes in seventeenth-century england

is it also with foul and filthy Field Lane. And so with Cervantes’s mad knight, whose presence here is helpfully connotative, though he is assigned words that are not to be found in Don Quixote. Another edition in 1659: C784, UMI (Thomason Tracts) 148: E.995 [11], same pagination. Another edition: Peter’s Patern, C785 (1680), p. 4. 338. Chamberlayne, William, Pharonida. C1866. UMI 558:8 Chamberlayne (1619–1689), a physician, playwright, and poet in Dorset, described his epic Pharonida to his dedicatee, Sir William Postman, as a work of heroic poesy. Within it, in book 2, canto 5, in a section about wandering ladies threatened with giants in deserted places, he refers to Don Quixote, perhaps alluding to Don Quixote’s mistaking a windmill for a winged giant (DQ 1.8): [L]ess terrible were all The dreadful Objects Ammadis [sic] de Gaule, Or wittier Quixote, from their Enemies Ere met. . . .

(p. 159)

Knowles (“Cervantes and English Literature,” 281) believes that Chamberlayne also alludes, albeit tenuously and generally, to Don Quixote when he introduces a pair of lovers who read romances, wear peculiar costumes, and make love according to the code of chivalry. “Also, a group of courtiers, like the Duke and Duchess in the novel, play a practical joke on the pair for the amusement of the court.” 339. A Character of France. To Which Is Added, Gallus castratus: or, An Answer to a Late Slanderous Pamphlet Called The Character of England. C2016. UMI 135:3 As Knowles notes (nos. 45, 46), the anonymous author of this answer to John Evelyn’s Character of England (1659) refers to John Don Quixote and Sancho Panza and alludes to DQ 1.8: But I see this poor Gentleman is mighty tender. . . . The very Boyes give him an Adventure much of Don Quixots, which makes him view all things through inchantment; and I wonder I hear no news of his Eccho, a Sancho Pancho to flatter his folly into a Romance. (p. 7, second count; sig. D4r ) Methinks this was as strange an Adventure as the Knight Errants Wind-mils, and I suppose as much crazed your body; so that I wonder at your high valour, that dared Adventure, that eyelet-holed invaded body of yours, to such corroding fumes. (p. 20, second count; sig. D10v )

In addition to the references noted by Knowles, there is another in A Character of France: [T]he most part of that Sex may justly claim a priviledge from honest Don Quixot (to be stiled Ladies of the ill-favoured faces) and had not the Countries head put

1659

217

a forward salacity 4 upon their Males, so that any meat will serve their greedy appetite, these poor souls might have as well expected Beauty as Courtship. (p. 27, 1st pagination; sig. C2r )

340. Cleveland, John, Poems by J. C. with Additions Never Before Printed. C4694. UMI 1438:5 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 39. For a reference to Don Quixote’s fight with a windmill (DQ 1.8) in The Character of a London Diurnal, C4659 (1644); in this edition, the passage is found on p. 183. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 193. For a reference to Don Quixote in “The Publique Faith,” sometimes attributed to Cleveland, see Richard Fletcher’s Ex otio negotium: or, Martiall His Epigrams Translated. With Sundry Poems and Fancies, M831 (1656), where it was first published; in this edition, the passage is found on pp. 89–91. 341. Cokaine, Aston, A Chain of Golden Poems. C4894a. No UMI For references to Don Quixote’s Rocinante and Sancho Panza’s “ass errant” and to Don Quixote as a modern writer, see The Obstinate Lady, C4896 (1657); in this edition, the passages are found on pp. 318, 344. For an epigram addressed to Dulcinea, see C4894 (1658); in this edition, the passage is found on p. 197. For a poem composed in Spanish and translated into English called “Don Quixot. Quarta parte, cap. 33,” see Small Poems of Divers Sorts, C4898 (1658); in this edition, the passage is found on pp. 171–2. 342. Crooke, Andrew, “Catalogue” in Rider’s Dictionary Corrected and Augmented. R1443. UMI 1577:12 In this edition of Rider’s Dictionary (first published in 1589 as Bibliotheca Scholastica and revised by Francis Holyoake in 1606), following Rider’s dedicatory epistle and an epistle addressed “To the Reader,” is Crooke’s catalogue with the heading “These books following are Printed and sold by Andrew Crook, at the Green-dragon in Saint Pauls Church-yard” (sig. A3r ). Under the heading “In Folio,” sandwiched between Jonson’s Works (2 vols.) and “Doctor Kellet of the Sacrament of our Lords Supper,” one finds: “The History of Don Quixot” (sig. A3r ). 4

Salacity: lustfulness, lecherousness (OED).

218

cervantes in seventeenth-century england

343. Fuller, Thomas, The Appeal of Injured Innocence. F2410. UMI 277:11

A notable Anglican and royalist, divine and historian, Thomas Fuller (1608– 1661) is perhaps best remembered as the author of The History of the Worthies of England (1662). In the work at hand he responds testily to some criticism by Peter Heylyn. In the second part of this Appeal, in a section about the fourth book of his own Church-History of Britain (1655), Fuller writes: What a peice [sic] of Don Quixotisme is this, for the Animadvertor to fight in confutation of that which was formerly confessed. (p. 49, 2nd pagination)

344. Gayton, Edmund, The Art of Longevity: or, A Diætetiicall Institution. G406. UMI 1207:2 In this book of rhyming couplets on dietetics, written by Gayton in his role as a physician, he refers (as Knowles notes, no. 42) to Don Quixote. In chapter 4, “Of the Order of Refection,” he puns on the word “don”: Next, let your lighter meats, and the subtiler Be faln upon before the gross and viler. Wherefore my Don, not Don Quixot, I mean, (For such provision seldome there was seen) At second course begins, and to be brief, Eats (if he have it) at the last his beef.

(p. 9)

345. Heath, Robert, Paradoxical Assertions and Philosophical Problems, Full of Delight and Recreation. H1341. UMI 601:12 Heath (fl. 1636–1659) was a poet probably known best for his Clarastella (1650), and within that volume a series of love poems which have been compared with those of Carew—though Heath’s volume also contains elegies, epigrams, and satires. He describes the work at hand as a collection of “Joco-seria” (sig. A3v ) which by the time they were published in 1659 were “long since written” (sig. A3r ). In the fifth of his “paradoxical assertions” here, working in the minor prose form known as the paradox, Heath argues “that Frequent Fires in a Metropolis, to consume the dwelling Houses, are necessary.” In proving his point he alludes thus to Don Quixote: Although my discourse may seem Quixot-like, to overthrow Cities, depopulate Countries, and threaten all their ruines: And though I appear at first aspect like him, terrible, in this doubtful Notion, yet I doubt not but out of this flinty Paradox, I shall strike fire enough to lighten any man to the truth of this bold Assertion. (p. 24)

In his tenth assertion (“That he that hath but one Eye, sees better, farther, and more, then he that hath two Eyes”), Heath refers to Dulcinea:

1659

219

The Lover, that is Moon-blinde,5 (if not stark-blinde as Cupid ) sees a world of beauty in his Dulcinea’s face, which her self never saw with both her Eyes in her own false Glass. (p. “84,” really 48)

In his eleventh assertion (“That Women should follow the Camp”), there is a reference to Don Quixote and an allusion to his love for Dulcinea: At the Justs or Quintins, 6 what Gallant is not inspired o’the sudden with Valor, when so many young Ladies and admirers of his Person and Deport appear in the Theatre? Cupid goes alwayes armed, and all his Shafts are headed with mertle: 7 What did Medea’s love prompt Jason to effect? The Squire of the Dames himself, Sir Lancelot, Sir Tristram, Sir Huon of Burdeaux, the High and mighty Don Quixot, nor our Fiercer Saint George (who all fought for fair Ladies sakes) did ever encounter so many Dragons and deaths, as a young Enamorado plumed over with Ladies Favours shall readily embrace. (pp. 49–50)

Another edition: H1341a (1664), pp. 24, 48, 49–50. 346. Heylyn, Peter, Examen Historicum: or, A Discovery and Examination of the Mistakes, Falsities, and Defects in Some Modern Histories. H1706. UMI 278:16 A prolific historian and Church of England clergyman, Heylyn (1600–1662) turned often to Don Quixote. Here in his Examen historicum, the subtitle of which conveys something of his contentiousness, one of his targets is the work of Sir William Sanderson. In the second part of his examination, Heylyn alludes to Don Quixote in “The Preface to the Following Advertisements”: [H]erewith I shall put an end to my correcting of the Errors in other mens Writings, though I confess I might finde work enough in that kinde, if I were so minded; most of our late Scripturients affecting rather to be doing, then to be punctual and exact in what they doe; as if they were of the same mind with the Ape-Carrier in the History of Don-Quixot, who cared not if his Comedies had as many Errors in them, as there are motes in the Sun, so he might stuff his Purse with Crowns, and get money by them. (sig. c 2r , 2nd pagination)

Heylyn has in mind here the episode in which Maestro Pedro performs at an inn with his puppet show and prophesying ape (DQ 2. 25–6). When Don Quixote protests about some inaccuracies in the show, Pedro replies that so long as he is taking in money, it matters not that there are as many errors as there are specks of dust in a sunbeam. Another edition in 1659: H1707, UMI 1551:20, sig. c 2v (same pagination). 5 6 7

Moon-blind: both an adjective and the name of a disease suffered by horses, the term moon-blind had by this time apparently begun to be applied to the mind (OED, earliest listing 1711). Cf. moonstruck. Justs or Quintins: jousts or quintains. The latter are posts or targets on posts to be tilted at. Mertle: a variant of “myrtle”—a plant or tree emblematic of love (OED).

220

cervantes in seventeenth-century england

347. Life and Approaching Death of William Kiffin. Extracted Out of the Visitation Book by a Church Member. L1989. UMI (Thomason Tracts) 151: E.1017 [4]

This coarse, anonymous satire compares William Kiffin (1616–1701) with Don Quixote, claiming Kiffin to be more fit for Bedlam than to sit in Parliament. The passage cited here opens with a reference to Sir John Barkstead, majorgeneral of Middlesex, who was knighted by the “tyrant” Cromwell on 19 January 1656 and represented Middlesex in the Parliament of that year. The writer’s chief target, however, is Kiffin, who was not only an M.P. for Middlesex in 1656–8 but also a highly vocal and visible Baptist preacher who, among other things, had recently been brought before the lord mayor of London for proclaiming the unlawfulness of infant baptism. Kiffin’s “Approaching Death,” announced in the title here, did not occur for over forty years. Room for a Knight of Middlesex, with his sword girt about his middle: Don John Barkstead and this valliant famous Knight, (by the help of a fearful Sheriff, & the uncontroulable directions of the Tyrant, with the pious and devout suffrage of the rascality of the Town) were returned the Representatives of the County. The one bore for his imprese a shield call’d a Thimble,8 and our Quixot was offensively armed with a Spanish Pike, that would peirce [sic] any leather but Buff. 9 (p. 4)

348. Lloyd, David, TheLegend of Captaine Jones. L2632. UMI 2573:3 For a reference to brave Captain Jones’s desire to take on the bravest Spanish warriors, even Don Quixote, see STC 16614 (1631); in this edition, the passage is found on p. 9. For a commendatory poem in which there is a reference to Don Quixote’s killing a winged giant, apparently an allusion to his tilting against a windmill in DQ 1.8, see L2631 (1656); in this edition the passage is found on sig. A7v . 349. Locke, John, Letter to John Strachey, c.1 March 1659. BL MS Locke c.18, f. 19210

The future philosopher John Locke (1632–1704), still in his playful twenties in 1659, would remember Don Quixote for the rest of his life. In his final years, in a document titled “Mr Locke’s Extempore Advice &c” (BL Sloane MS 4290, fos. 11–14), which would remain unpublished until 1720,11 he wrote that one Use of reading . . . is for diversion and delight. Such are poetical writings, especially dramatick, if they be free from profaneness, obscenity, and what corrupts 8 9 10 11

The writer probably associates Kiffin with a thimble on the grounds that he was thought to have been apprenticed in boyhood to a glover. Buff : “usually applied to a very stout kind of leather made of ox-hide” (OED). Quoted from The Correspondence of John Locke, ed. E. S. De Beer, vol. 1 (Oxford: Clarendon Press, 1976), 71–3. Titled “Some Thoughts Concerning Reading and Study for a Gentleman,” and included in A Collection of Several Pieces of Mr. John Locke, the little treatise was then published by Pierre Desmaizeaux.

1659

221

good manners; for such pitch12 should not be handled. Of all the books of fiction I know none that equals Servantes [sic] his History of Don Quixot in usefulness, pleasantry, and a constant decorum. And indeed no writings can be pleasant which have not Nature at the bottom, and are not drawn after her copy.13

Many years earlier, on the back of a letter dated 26 February 1659 from his friend John Strachey,14 young Locke drafted a response to Strachey that included his own guess as to what facts probably lurked behind Strachey’s verbal horseplay in the letter. He surmises that the “Ocean” Strachey has mentioned there was “nothing but a pott of Ale.” The supposed transformation from one thing to another makes Locke think of Cervantes’s imaginative hero and his squire: The spirit of Don Quixot could turne windemills into giants and who then wrought wonders with you, might possibly be the author too of this Metamorphosis and soe by your being above the middle region I thinke you meane noe thing but fudling in a cockloft.15 possibly your friend Sanco who was with you in the adventure. And if you will keepe to the story must always be dull enough to call things by their common names. (p. 72)

Obviously Locke’s hastily composed sentence structure breaks down here. 350. Locke, John, Letter to John Locke, senior, 22 June 1659. BL MS Locke c.24, fos. 173–416

This letter from young Locke to his father (1606–1661) expresses satisfaction both with what his father has sent him recently and also with his own current life. Despite the turmoil of the times, he writes: Yours by Sancho with all its retinue came safely to my hand and brought me noe small satisfaction in the account it gave me of your health and quiet which is a blessing this tumbling world is very spareing of, though I cannot remember any days of my life wherein I have injoyd more. and all these tossings have servd but to rock me into a pleasant slumber, whilst others dreame (for our life is noething else) of noe thing but fire sword and ruine. (pp. 82–3)

De Beer surmises that the carrier “Sancho” here—an obvious reference to Cervantes’s Sancho Panza that the elder Locke must have understood—is likely the same man who is called “Sanco” in Locke’s letter to John Strachey of c.1 March, q.v. 12 13 14 15 16

Pitch: a sticky, black tar-like substance used for caulking and paving. Cited here from Studia hispanica in Honorem R. Lapesa (Madrid: Editorial Gredos, 1972), 535. See Strachey’s letter, infra. 1659. Fudling in a cockloft: fuddling means tippling, and a cockloft is a small upper space under the ridge of a roof, usually accessible only by ladder (OED). De Beer, The Correspondence of John Locke, 1:82–5.

222

cervantes in seventeenth-century england

351. The London Chaunticleres. A Witty Comoedy. L2893. UMI 793:32 As Mayor (p. 11) notes, there is a Cervantes allusion in the first scene: Bristle (a Brush-man), in a dialogue with Heath (a Broom-man), alludes to Don Quixote’s encounter with a giant, probably an allusion to Don Quixote’s mistaking a windmill for a giant (DQ 1.8): Stay a little Heath, I have a design in my head, that will outgo Don Quixot or Palmerin, as far as they did the Giants they overcame; a Trick that shall load us with Money without any fear of th’Cart. (p. 3; sig. A4r )

Such carts were a good way to display and punish wrongdoers—perhaps even take them to the gallows. 352. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3225. UMI (Thomason Tracts) 223: E.1784 [1]

This collection of letters by the young translator and poet Loveday (1621–1656) was issued posthumously by his brother Anthony. As Knowles notes (no. 41), Loveday casually mentions Don Quixote and Sancho, alluding to DQ 1.8. In letter no. 93 addressed “To Mr. G.,” he writes: [S]ince our arrival here [in Bristol], my Lord and I,17 like Don Quixot and his Sancho, have done nothing but seek adventures, visiting all the Towns of remark, and inchanted Castles we could hear of, as if we intended to give the World a more exact Geography of the place, and mend Cambdens [sic] Map of the County: only we have charg’d no Windmills yet, nor any thing else but his purse. (p. 171)

This volume yields also an advertisement for Nathaniel Brooke’s establishment in Corn Hill; in “Books very lately Printed, and in the Press and now Printing,” the tenth in the list is “The History of Don Quixot, or the Knight of the ill-favoured face; a Comedy” (sig. T7v ). Cf. Brooke’s “Books Very Lately Printed, and in the Press” (1658). Other editions: L3226 (1662), pp. 169–70 (advertisement on sig. T8r ); L3227 (1663), pp. 169–70 (advertisement on sig. T8r ); L3228 (1669), pp. 169–70; L3228A (1669), pp. 169–70 (no advertisement for Don Quixote); L3229 (1673), pp. 167–8; L3229A (1676), pp. 167–8; L3229B (1677); pp. 167–8; L3230 (1684), pp. 167–8. 353. Lovelace, Richard, Lucasta. Posthume Poems. L3241. UMI 389:7 Lovelace (1618–1657), a cavalier courtier and poet, is best known for his verses in Lucasta (1648) and the complementary and posthumous volume at hand. The latter, as Knowles notes (no. 44), alludes to Don Quixote in “The Duell,” a poem in which the protagonist duels with Cupid: 17

Loveday was an upper servant in the peripatetic Clinton family.

1659

223

This, this is Love we daily quarrel so, An idle Don-Quichoterie: We whip our selves with our own twisted wo, And wound the Ayre for a Fly. The only way t’undo this Enemy, Is to laugh at the Boy, and he will cry. (p. 32)

354. Osborne, Francis, A Miscellany of Sundry Essayes, Paradoxes, and Problematicall Discourses, Letters and Characters. O516. UMI (Thomason Tracts) 236: E.1900 [1]

A friend of Hobbes, master of the horse to the Earl of Pembroke, and author of the popular Advice to a Son (1656), Francis Osborne (1593–1659) draws various works together here and, as Knowles notes (no. 43), refers to Don Quixote (DQ 1.17–18) in “A Character of an Host”: An Host is one who Thrives with Drinking. . . . The Government of this house is Tyrannicall, all Taxes being Arbitrary, at the will of his Wife, who sits Regent in the Kitchin. Yet every one that enters, takes his Chamber, for the time he stayes, as his own, With no less assurance, then Don Quixot did the whole Mansion, for an Enchanted Castle. (pp. 197–8)

Another edition in 1659: O516A (UMI 770:26), same pagination. Also found in Osborne’s Works: O505 (1673), p. 563; O506 (1682), p. 601; O507 (1689), p. 601; O507a (1700), pp. 540–1. 355. Phillips, John, Montelion, 1660: or, The Prophetical Almanack. A2109. UMI 1414:29 John Phillips (1631–1706), brother of Edward and nephew of John Milton, was reared and educated by the latter. An early hack work, his Sportive Wit (1656) was publically burned, but his Montelion 1660 (published in 1659)—a royalist jibe at the republican astrologer William Lilly—occasioned a number of sequels.18 Here in “An Exact Chronologie of memorable things” Phillips refers to Don Quixote and Mambrino’s helmet (DQ 1.21): Since Don Quixot wore Mambrino’s Bason instead of an Head-piece. 81 [years]. (sig. A5r )

Phillips also notes that Don Quixote is celebrated on Monday, 3 December (sig. C4v ). 356. Shipton, William, Dia, a Poem; to Which Is Added Love Made Lovely. S3457. UMI (Thomason Tracts) 241: E.2113 [2] In the second part, headed “Cupid Made to See, and Love Made Lovely,” Shipton refers to Don Quixote’s fight with a windmill (DQ 1.8): 18

See Gordon Campbell, Oxford DNB, 44:117–19.

224

cervantes in seventeenth-century england

Some say Cupid is no real being, but a Chymæra.19 Yet Plato degenerates from such Principles, allows him something, though ’tis onely the desire of Pulchritude in a fair body, and I make account too, the attempt of an ill-favoured feature, is not Love, but lust. How doth that Ignis fatuus 20 bemire the Lilly soul, in the dirty bogs of Quag-mire folly. How doth that melancholly distemper, like Don Quixots, fight with wind-mills of fancy . . . ? (p. 90)

357. Shirley, James, Honoria and Mammon. S3473. UMI 1579:7 Koeppel notes (Archiv für das Studium, 97) that in 5.1 of this comedy first performed in 1652 “by young Gentlemen of quality at a private entertainment of some Persons of Honour,” in a conversation including Squanderbag, a Captain, a Sergeant, and some soldiers, the Sergeant alludes to Dulcinea’s shining forehead. This appears to be an allusion to DQ 2.10 in which Don Quixote says the moles on Dulcinea’s face are not moles but moons and shining stars: Cap. They will deserve their pay. Squa. O pay is necessary, use it now and then, Like Phisick, it keeps the Souldier in health And expectation, they must fight for honour Some-times. 1 So. Tobacco, hey? Ser. Here boys, a Magazine, with pipes attending, White as my Ladies tooth, and shining more Then forehead of Dulcinea de Toboso. 4 So. A Souldier’s a brave life.

(p. 76)

Cervantes’s passage on Dulcinea’s moles is likely to have caught Shirley’s attention because William Laud had warned him that a mole on his face made him unsuited for the clergy. Other editions in 1659: S3474 (UMI 849:21), p. 76; S3475 (UMI 1753:8), p. 76. 358. Strachey, John, Letter to John Locke, 26 February 1659. BL MS Locke c. 18, fos. 191–2.21

John Strachey (1634–1675) of Sutton Court (the Strachey family seat in Somersetshire) was a Lincoln college Oxonian who received his B.A. in 1653 and eventually, in 1661, would enter Gray’s Inn as a barrister. In 1659 he found an occasion to write to his friend John Locke, who himself had received his B.A. from Christ Church in 1656 and his M.A. in 1658, and would continue to live in Oxford until 1667. In this letter rife with tomfoolery, Strachey recalls Don Quixote in terms of an untoward all-night episode that has been experienced by Strachey and 19 20 21

Chymæra: i.e. chimaera, a fire-breathing monster, part lion, part dragon, and part goat. Ignis fatuus: foolish fire. Quoted here from De Beer, The Correspondence of John Locke, 1: 70–1.

1659

225

a companion (perhaps Thomas Grenfeild) in the neighborhood of Pensford, a village in Somersetshire. Locke obviously has heard something about the incident previously, for Strachey writes: The Ocean you speake of was a Pensford quagmire where a certaine Levite and I by the helpe of Don Quixotts brainepan imagining ourselves in good company stucke so fast all night like Dun in the mire,22 that Apollo was faine to bringe his coach and horses the next morning to draw us out. (p. 70)

22

Dun: the name for any horse (OED). De Beer notes that “Dun is in the mire” is a proverbial expression meaning that things have come to a standstill (ibid. 71).

@

1660

#

359. A., J., We Have Brought Our Hoggs to a Fair Market: or, The Iron Age Turned into Gold. W1179. UMI (Thomason Tracts) 154: E.1040 (12) In this bitter satire against the parliamentarians, the author (described on the title page as “a lover of his countryes welfare”) twice invokes Don Quixote. First, he alludes to DQ 1.8: [T]he Quixots of our late times fought with the Windmills of their own Heads, quail [at] Monsters of their own creation, makes Plots and then discovers them; as who fitter to Un-kennel the Fox then the Terrier that is part of him. (sig. A2v )

A few pages later, the author recalls both an episode in Apuleius’s Golden Ass (3.14) and the episode in which Don Quixote sets free a chain of galley-slaves (DQ 1.22). He writes: I will close up all thus, the Victoryes of the Rebels, were like the Magicall Combate of Apuleius, who thinking he had slain all three of his enemies, found them at last but a triumphirate of Bladers. Such and so empty are the imposthumated fancies, so many Bladers of their own blowing. Like to Don Quixots Rosary of slaves Strung on a Chain; a murnivall1 of knaves Packt in a trick, like Gipsies when they ride Or, like Colleagues, which sit all of a side, So the vain Satyrists stand all a row, As hollow Teeth on a Lute string show.

(sig. A4v )

360. Allestree, Richard, The Gentlemans Calling. A1115. No UMI Sometime chaplain in ordinary to Charles II and Regius Professor of Divinity at Christ Church, Oxford, Allestree (1619–1681) is known best for his work titled The Whole Duty of Man (1657). In the eighth section of his Gentlemans Calling (as Knowles notes, no. 48), under the running head “Advantage of Reputation,” Allestree writes: Nor are these false measures of Honor more opposite to Religion, then Prudence; The glosses the Sword-men have put upon the one fundamental Law of Not bearing an Injury, have introduced such a multitude of ridiculous Punctillo’s, that the next Age will be in danger of receiving the Fable of Don Quixot for Authentique History; and I see not with what justice this can laugh at them in him and his squire Sancho, and yet think them serious enough to govern men in their most real and weighty concernments. (pp. 141–2) 1

Murnival: four of a kind in a card game.

1660

227

Other editions in 1660: A1115A (1660), pp. 141–2; A1116 (1660), pp. 141–2. Other editions: A1117 (1662), pp. 141–2; A1118 (1664), pp. 141–2; A1119 (1667), p. 134; A1119A (1667), p. 134; A1120 (1668), p. 134; A1120A (1668), p. 134; A1120B (1669), p. 134; A1121 (1670), p. 134; A1121A (1671), p. 134; A1122 (1672), p. 134; A1123 (1673), p. 134; A1124 (1674), p. 134; A1124A (1674), p. 134; A1125 (1676), p. 134; A1126 (1677), p. 134; A1127 (1679), p. 134; A1127A (1682), p. 134; A1127B (1682), p. 134; A1128 (1682), p. 134; A1129 (1687), p. 134; A1130 (1696), p. 134. Also found in Allestree’s Works: A1081B (1682), p. 85 (2nd pagination); A1082 (1684); p. 445 (1st pagination); A1083 (1687), p. 445 (1st pagination); A1084 (1695), p. 445 (1st pagination). 361. Beaumont, Francis, Poems. The Golden Remains of Those So Much Admired Dramatic Poets, Francis Beaumont & John Fletcher. B1604. UMI 2471:3

In a poem, “To the Mutable Faire,” first printed in Waller’s Poems &c. (1645) and reprinted in the second edition of Beaumont’s Poems (1653), there is a reference to Don Quixote’s fight with a windmill (DQ 1.8); in this edition, the passage is found on sig. F6v . Why Waller’s verses were ever printed with Beaumont’s Poems remains a mystery—even after one considers that the poem was subsequently left out of Waller’s poems as published in 1690 (W521). 362. Bibliotheca Fanatica: or, The Phanatique Library: Being a Catalogue of Such Books as Have Been Lately Made and by the Authors Presented to the Colledge of Bedlam. B2826. UMI 2419:8 This work mocks fanatic political works in general, and one book title alludes to Sancho and his faithful ass Dapple: Dapple groans under the weight of Sancho Pancha, or the quondam miserable estate of the City-Ass, by John Ireton then Lord Mayor of London. (p. 5)

Brother of the regicide Henry Ireton, John Ireton (1615–1690) was London’s Puritan lord mayor in 1658–9. 363. A Breife [sic] Description or Character of the Religion and Manners of the Phanatiques in Generall. B4573. UMI (Thomason Tracts) 220: E.1756 [1] The author of this Description takes on Anabaptists, Brownists, Dippers, Enthusiasts, Fifth-Monarchy Men, Independents, Levellers, Quakers, and Seekers, and, “reflecting much also on Sir John Præcisian and other Novelists,” attempts to refute their “absurdities.” In a passage about the Puritanical dislike of all things that smack of popery, the author characterizes all of the above as Don Quixotes: They are affraid [sic] to meddle with any thing that ever passed the Popes fingers, except onely the Lands and Revenues of the Clergie; leave nothing to maintain Religion or its Ministry, but the scraps of arbitrary and grudging Contributions:

228

cervantes in seventeenth-century england

Like Don Quixots and Knights-Errant, have so many Romances, forms and idæa’s of Religion in their heads, which makes them admirable but not imitable; have such ferocious spirits like pampered horses whom no ground will hold, neighing after novelties, and give way to long-winded extemporary specious nonsense above the common capacity. (p. 34)

364. Burton, Robert, The Anatomy of Melancholy. B6183. UMI 1351:18 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 282. For a reference to Dulcinea in a passage about alluring women, see STC 4163 (1638); in this edition, the passage is found on p. 522. 365. Crouch, John, Mercurius Fumigosus. Numb. 8. N&S 324.8. UMI (Thomason Tracts) 153: E.1035 (11)

A bookseller and writer— e.g. Craftie Cromwell (1648)—John Crouch (c.1615– 1680?) also turned out a good many issues of multiple mercuries (or newsbooks) of the day. In the issue at hand dated Wednesday, 1 August 1660, the writer plays upon Don Quixote’s name: By the Post of the Moon this week came letters which for nodification2 of the people of Great Bedlam, affords this following viz. That the Famous City of Rosgammon . . . was lately besieged by the mighty and Magnificent Prince Don Quickso Phylaschiro [sic], Sultan of Tenebris. (p. 58; sig. H1v )

366. Dauncey, John, The History of His Sacred Majesty Charles the II. By a Person of Quality. D291. UMI 91:5 Dauncey refers to Don Quixote’s chivalry in the first paragraph of his biography of England’s new king: The Histories of Englands late oppreessours [sic] have already cloy’d and overladed the exuberant Presse, whole Volumes daily coming forth, either of the Actions of the long Parliament, or the Life of their aspiring Generall Cromwell, which though adorn’d with all those flatteries, that could possibly proceed from the most beneficed pens, yet cannot in the least justifie their actions to the more sober sort of people; for though their memories may here smell sweet to some, who have rather tasted of their favour, then suffered under their oppression, yet do they but render them to the sufferers more infamous, and to the Neuter ridiculous, like the extolling of Don Quixot’s Chivalry. (pp. 1–2)

Other editions in 1660: D291A, UMI (Thomason Tracts) 240: E.1935 [2], pp. 1–2; D292, UMI 1439:29, pp. 1–2. 2

Nodification: if this is anything more than an error for notification, it may be worth recalling that a noddy is a fool or simpleton, and noddy as a verb means to make a fool of (OED).

1660

229

16. Don Pedro de Quixot (1660) is a broadside satirizing the charismatic preacher Hugh Peters (or “Peter”), a man “well versed in any thing but Honesty and Conscience,” a teacher of “Caprichio’s and Whimseys in the Pulpit where he plaid Presto with the Bible.” A suggestive windmill stands on the top of his head, and a horned and winged devil whispers at his ear. Accompanying him on either side in this picture are “The Names of the RUMPS Twelve Chaplains extraordinary,” compatriots who in one way or another served the “Rump” Parliament (6 December 1648–20 April 1653; and 7 May–13 October 1659).

230

cervantes in seventeenth-century england

367. Don Pedro de Quixot, or in English the Right Reverend Hugh Peters. D1845. UMI (Thomason Tracts) 247:669.f.25 [62] One of the most highly visible clerics of his time, Hugh Peters (1598–1660) went with Cromwell to Ireland, was made chaplain to the Council of State, and preached regularly at Whitehall during Cromwell’s incumbency. On 16 October 1660, however, on the grounds that he had furthered the execution of Charles I, he himself was executed at Charing Cross. The broadside at hand features a picture of Peters (see Fig. 16) that alludes to DQ 1.8. The text begins: We here present to your view, the grand Cabale or common-shore of all phanatical principles, Geneva’s Calvinisme, Munsters Revelation, Amsterdams Toleration, New-Englands Precisenesse, all bound up in one volume.

The closing reference here to New England is based at least partly on the fact that in the 1630s Peters sailed to the New World, became a preacher in Salem, Massachusetts, and assumed a leading role in ecclesiastical affairs there before returning to England in 1641. 368. Don Samuel Crispe: or, The Pleasant History of the Knight of Fond Love. Adorned and Embellished with Sundry Rare and Delightful Adventures. D1846. UMI 1033:18 Although the epistle dedicatory of this facetious romance discloses and defines its quasi-autobiographical cast, one cannot be sure whether the author was or was not, in fact, “Samuel Crispe.” In any case, whether wittily or unwittingly condemned to bibliographical anonymity, he writes: Therefore that I might no longer hide my light under a Bushel, but be useful in my Generation, and shew to the world that there was such a man as my self, upon Earth, I have here made bold to present you with the choicest Flowers of my Amorous Frolicks. (sig. A1v )

The beginning of the epistle has previously displayed Crispe’s self-confidence: it is addressed “To all the Madams, Ladies and Gentlewomen in England, Scotland and Ireland, and the Dominions thereunto belonging.” Within it, the author alludes to the popularity of Don Quixote among women: Madams, fair Ladies, and Gentlewomen, There is a Proverb which saith, That some are wise, and some are otherwise: Whence I infer, that all men are not wise, but that there are some Fools in the world. The Providence of Nature was great, to chequer the world with such variety. For how could wisemen recreate their serious Contemplations, were not some men born to make merry with their folly? I know, Ladies, you do not alwayes contemplate upon Brightman, always read Love’s Works; there is a time when you exhilarate your selves with looking on the labours of S. George, Palmerin of England, Bevis of Southhampton, Don Quixot, and the like: Now had all the world been Plato’s,

1660

231

Solon’s, Calvin’s and Calamy’s, what would you have done for the merry humours of these men? 3 . . . If I have not acted my part so fully to my intentions, as I ought, upon the Stage of the World, Ladies, I beg your pardon, desiring you to tell me where I have fail’d, and to impose your further Commands upon, Ladies, Your Sempiternal Vassal, Sam. Crisp[e] (sig. A2r–v )

The general nature of this spoof may be suggested by its chapter titles: (1) “Of the Birth, Parentage and Education of the Knight of Fond Love”; (2) “How these two young men proceeded in their Studies, and how they were dubb’d by Sir Pemmel, Knight of the Eleemosynary Ale”; (3) “How Sir Samuel Crispe fell in love with the fair Lady Elizabetha”; (4) “How Sir Samuel lamented his Case, and how he sent a Letter to Elizabetha”; (5) “How Sir Samuel went to visit his Elizabetha; and how the Knight of the Cole-warf durtied his Boot-hose”; (6) “How Sir Samuel courted Elizabetha, and how the Chambermaid affronted him; and what happened thereupon”; (7) How Sir Samuel sent his Mistris a Copy of Verses, wishing himself a Puppy-dog for his Mistress sake: which he sent by his good Page, Jack Waterhouse; and how Jack Waterhouse got drunk before he could present them”; (8) “How Sir Samuel fell in love with another Lady, and how he sought to win her affections”; (9) “How Sir Samuel put on a disguise, and went to seek Elizabetha in the Country”; (10) “How Sir Toby and Lawrence fell both in love with the same Lady, and how Lawrence wish’d the Devil take his Brother Sir Toby”; (11) “How Sir Samuel return’d without seeing his Elizabetha, and how he had like to have been taken for a Spye”; (12) “Of his adventure in a Wood near Tunbridge, and of his resolution to retire into a Monastery”; (13) “How Sir Samuel counterfeited himself dead to get pity from his Elizabetha, and how he dated a Letter to her from his grave”; (14) “How Sir Samuel dismissed his Squire, and how the Squire gave a Character of his Master”; (15) “How Sir Samuel may go hang himself, if he pleases.” In chapter 13, in a letter from “Sir Samuel to his Elizabetha, the joy of his heart, and comfort of his hopes,” he refers to Dulcinea’s love for Don Quixote: Madam, The continual repulses and denials I have received from you, have almost made me distracted; I have torn my hair, beaten my brest, and bit my nails for want of your affection. In a word the anguish of my soul is such, that I am forc’d to dye; yea, I am already dead, and laid forth in my Winding sheet, as my good Squire Jack Waterhouse can inform you. Your disdain hath been my bane: O how could you, the Mirrour of Courtesie, be so obdurate to the Mirrour of Courtesie? Yet I am not so dead, but that if you would come and smile upon me, you might 3

The lesser-known names dropped here are probably those of the Puritan divines Thomas Brightman (1562–1607), Christopher Love (1618–1651), and Edmund Calamy the elder (1600–1666).

232

cervantes in seventeenth-century england

work a Miracle, which would blaze your name abroad, and revive your poor Sir Samuel. Oh how can you be so relentless, and Marble-hearted? Was not Dulcinea loving to her Don Quixot? Was not Laurana courteous to her Parismus? 4 And can Elizabetha be unkind to her Samuel? Come then quickly before I be cold, lest you come in vain to your Dead Friend. From my Winding Sheet, Septemb.3.1659. (sig. C4r–v )

In chapter 14, Jack Waterhouse’s character of his master, he refers to Sancho Panza, Don Quixote, and Dulcinea and alludes to the ridiculous nature of Don Quixote’s infatuation with the chambermaid: Mr. S. C’s Character He was born the Son of a Doctor of Physick; and if legitimately begot, without doubt, form’d by the most cunning Rules of that Art, being in his own vainglorious Opinion, a—second Narcissus; one of a proper Stature, joyned with an indifferent comliness, though a deformed dull man in wit: he was bred a kinde of a Mongrel Canary Merchant, under that old Fox Rowland Wil——5 to whom he proved such an officious Zancha Pancha, that at the good old Man’s death, he became a Quadrate Heir to his Estate, and is now set up Knight-Errant for himself; and to make that Calling the more laudable, he has mask’d himself with a superficious Devotion, being much given to the visiting of all sorts of Sects and Churches, though farre better read in the Ladies Faces he there sees, then in the Explication of the Speakers or Preachers Text he there hears: however, by this holy Hunting, he has much added to his Parts, and fitted himself for all Ladies companies (except inchanted) by attaining to an extemporary singing, though by a Sacrilegious stealing of the greatest part of the Parish-Clarks Tunes in London: he dances so well, as that you may know he has payed his entrance and quarteridge to a Master of that Science: he is ingeniously witty for the inventing of Love-Plots and Designes: for his own wandring and Fantastick Affection, and more prudent mens sport and laughter, he has almost run through as many unfortunate and apish Adventures to obtain his fair Elizabetha, as renowned Don Quixot did for his foul Dulcinea. He is one that often thinks on his death, having already fitted his Corpusculum to a Winding sheet. He is one of a single humility, and that to a Mistriss, for whom he had rather be metamorphosed to a Puppy-Dog, then displease her. He wears goods [sic] Cloathes, and those various fashionable: yet he holds it great Prudence sometimes to borrow a Country Clowns leather Breeches to court his Mopsa in. His greatest misery is, that only Cavalier Ladies affect him, and that his Cockney humour bears as much malice to people of so good a quality, as the Devil does Amity to Roundheads, and the Good Old Cause. 6 He 4

5 6

Emanuel Forde’s Parismus, the Renoumed Prince of Bohemia, which told of Parismus’s love for the Princess Laurana of Thessaly, first began to appear in 1598 and went on to enjoy about two dozen incarnations during the 1600s. Rowland Wilson was a prominent merchant in London. The phrase “Good Old Cause” refers loosely to the goals of those who opposed Charles I and essentially held the upper hand until the Restoration in 1660.

1660

233

is never valorous but in womans Company; and if confidently assaulted by them (as in Tunbridge wood) yeilds immediately the treasure of his Pockets to them, for to buy Candles to sit by and laugh at him for a Coward. He is very unfortunate in his elder Brother being held handsomer then himself; oftentimes having fallen most desperately in love with those Mopsa’s and Misoes that were ready to strangle themselves for sweet Toby. In fine, he is his own and ridiculous Don Quixots Heir, the Ladies Whelp, and every mans Fool, the Booksellers Outlary, 7 and the Earths Burden. (sig. A1r–v , 2nd count)

369. Ellis, Clement, The Gentile Sinner: or, England’s Brave Gentleman. E556. UMI 1307:39 Both a minor poet and a divine, sometime chaplain to William Cavendish, Marquess (later Duke) of Newcastle, Clement Ellis (1633–1700) was a prolific writer. The following passage occurs in his quickly written but best remembered work, a caustic courtesy book on the generic genteel young gentleman. In “The Gallant,” in a section headed “His Language and Discourse,” Ellis refers to the popularity of Don Quixote and its influence on the beau monde: A piece of noisy Bombast denominates him one of the great Wits. . . . If Don Quixot or some Romance more in Fashion, can but furnish him with a few New-Coyn’d words, and an Idle tale or two to make up his talke at the next Ordinary,8 in his own fond 9 Conceit and by the votes of his simple Companions, he is carried up to Heaven; a wanton piece of Drollery will send him beyond it. (p. 32)

Other editions: E556A (1661), p. 32; E557 (1661), p. 32; E558 (1664), p. 32; E559 (1668), p. 32; E560 (1672), p. 32; E560A (1672), p. 32; E561 (1679), p. 32; E562 (1690), p. 32. 370. The Gorgon’s Head: or, The Monster of Munster. G1303a. UMI 2030:5 Fanatic cruelties are said to have been imposed by Anabaptists during their supremacy in Münster (1534–5), followed by their own great suffering when the city was retaken (24 June 1535). In “The serious Pos[ts]cript” to this heavyhanded piece of irony in support of Anabaptists and Quakers, the author avers that the supporters of the Münster massacre of Anabaptists claim the event never occurred; indeed, the villains have misled sensible folk into believing the tale has no more validity than the fictional adventures of Don Quixote and Sancho Panza: That it is true . . . That the Story of Munster (as they [i.e., the co-religionists of the victims] relate it) seems to all sober men a Romance, like Don quirote [sic] & Sanca Panca. (sig. B1v ; p. 10) 7 8 9

Outlary: obsolete form of outlawry (OED). Ordinary: “An eating-house or tavern where public meals are provided at a fixed price” (OED). Fond: foolish.

234

cervantes in seventeenth-century england

371. Holland, Samuel, Romancio-Mastrix. H2443. UMI 497:18 For references and allusions galore to Don Quixote in Holland’s mock romance, see Don Zara del Fogo H2437 (1656), also published as Wit and Fancy in a Maze H2445 (1656); pagination is the same in all three editions. 372. London, William, A Catalogue of New Books, by Way of Supplement to the Former. Being Such as Have Been Printed from That Time, Till Easter-Term, 1660. L2848. UMI (Thomason Tracts) 152: E.1025 (17)

Having produced a behemoth of a catalogue listing “The most vendible Books in England” in 1657, then supplemented it in 1658, London supplements it again here. On his final page, in a list of fifteen plays in quarto, between The Tell-tale (Dekker? c. 1572–1632) and The Fair Spanish Captive (not extant), he lists “DonQuixot” (sig. C4v ). Likewise not extant, the latter may have been The History of Don Quixote, or the Knight of the Ill-Favoured Face advertised in Edward Phillips’s New World of English Words (1658) and elsewhere. See Brooke’s “Books Very Lately Printed, and in the Press” (1658). 373. ThePractical Part of Love. Extracted Out of the Extravagant and Lascivious Life of a Fair but Subtle Female. P3154. UMI (Thomason Tracts) 224: E.1793 (2)

In this comic novel, Helena, a young woman of easy virtue, meets a young gentleman who wishes to set her up to seek her fortune in London. He sends for some gallants of his acquaintance, and she and her grandmother while away the time drinking in a tavern. The author refers to the gallants as “a flight of Butterflies, the gaudy Birds of Summer . . . for they portended hot weather, and a scorcht Harvest, and early but smutcht 10 and rotten fruit.” In the eye of the author they are Quixots: Presently, in comes a crowd of Gentlemen, whom the young Squire had sent for, and now Helena might picke and chuse her Love, her Quixot. (p. 68)

374. R., T., A Letter from a Gentleman to His Friend in London. R86. UMI 1978:16

The title page continues: “In Confutation of the scurrilous Libell of an Anonymus [sic] Blackloist,11 Against the Reverend and Learned Doctor P. R. [i.e. Robert Pugh (c.1610–1679)] up[on] the occasion of his Latine Epistle of the Clergie’s Obedience to the Sea Apostolick [i.e., De Anglicani cleri retinenda in Apostolicam sedem observantia (1659)].” In response to “the Libeller himself,” T. R. refers not only to Don Quixote and Sancho Panza but also to the curate 10 11

Smutcht: spoiled, besmirched, sullied, “morally or otherwise” (OED). The pejorative term Blackloist refers in particular to Thomas White (1593–1676), alias “Blacklo,” a free-wheeling Roman Catholic priest, prolific writer, and head of the Blackloist cabal (Beverley Southgate, Oxford DNB, 58:625–7).

1660

235

and barber who manage to get the knight aboard a cart in the final chapter of Don Quixote, pt. 1: You sing Bellona’s Battles,12 and the man’s whose glorious deeds out-did great Tamberlan’s.13 We hear of nothing but army against army, single combats, Don Quixots, Windmills, Souldiers, Captains, Castles in the air, with Thrasonicall boasting and bragging,14 and such terrible buggan-boes, which have frighted the poor Ideot out of his wits, especially since that dreadfull apparition of the formidable inchaunted Giant Monumetham,15 Monstrum horrendum, informe, ingens, &c.16 descended no doubt of the renowned and very ancient families of the Dorobernian Gogmagogs, and Trinobantian Albii of the East-Saxons: of which race one Thomas the Englishman (the true parallel of Don Quixot, as your self of Sancho Pancha his Esquire) begat him (as the Cyclops) of some windie phantosme, that supplied the place of brain in his empty Pericranium, where, ô the strong force of imagination fertile to its own ruine! [sic] in small time it gained such strength, that it is grown terrible to its own parents, whom neither his Golden Shield can defend; nor the Sound of his Trumpet can drive away: nor Fourteen Animadversions joined to Sixty six Excantations dissolve the inchantment. But he layes so furiously about him on the Don and your self his Esquire, that there is no hope of either of your recoveries, but by the Balsome of Fierebras; more commonly known at the Anticyra’s by the name of Elebore: whither I am resolved to send you both to find your cure. And while the Curate and the Barber are preparing a Cart to carry the Don: I will take charge of you ’Squire Sancho: and when I have made an end with your Libell, send you after. (pp. 44–5)

It turns out that Don Quixote knows the recipe for the healing balm of Fierabras (DQ 1.1), which was named for a giant in chivalric fiction, but later in his own story the remedy occasions results seldom discussed in polite society (DQ 1.11 and 1.18). Anticyra, a town in Thessaly, was in ancient times known for its hellebore, a specific for madness. 375. Shirley, James, The Wedding. S3493. UMI 703:23 For a reference to a windmill being mistaken for an enemy in Act 4, a likely allusion to DQ 1.8, see STC 22460 (1629); in this edition, the passage is found on sig. F2r . 376. Sorel, Charles, The Extravagant Shepherd. S4704a. UMI 1579:22 For references to Dulcinea and the “extravagance” and foolishness of Don Quixote, see S4703 (1653); in this edition, the passages are found on sig. b2v and pp. 106 (1st pagination), 90 (2nd pagination). 12 13 14 15 16

Bellona: the Roman goddess of war. The odd form Tamberlan refers to Tamburlaine (1336–1405), the ruthless conqueror of lands stretching from the Mediterranean to India. Thrasonicall: from Thraso, the braggart soldier in Terence’s Eunuchus. Monumetham: a reference to White’s Monumetham excantatus (1600). Virgil, Aeneid, 3.658 (“A monster frightful, formless, huge, bereft of sight”).

236

cervantes in seventeenth-century england

377. Tatham, John, The Rump: or, The Mirrour of the Late Times. A New Comedy. T233. UMI 370:7 Both a dramatist and London’s official city poet, Tatham (fl. 1632–1664) produced comedic satire of a specifically political sort in The Rump, taking his title from the so-called Rump Parliament—the remains of the Long Parliament after Col. Thomas Pride and a body of musketeers ousted 143 of its members (see Fig. 17). As Knowles notes (no. 47), in 2.1, Lady Bertlam, a thin veil for Mrs. John Lambert, alludes both to Don Quixote generally and to Sancho Panza specifically: ’Tis a wonder with what Impudence these fellows Noll and Dick [Oliver Cromwell and his son Richard] could Knightifie your husbands! For ’tis a Rule in Heraldry, that none can make a Knight but he that is a Knight himself: ’Tis Zanca Panca’s Case in Donquixott. (p. 25)

In Act 4, an apprentice announces to others that Lambert is similar to Don Quixote: Hy Boyes, the Noble General Philagathus17 lay at Barnet last night. . . . And the pityful, dityful Lambert, one of Donquixott’s Lords, is in the Tower. H’as been a Whipster all his Life time, and now is become a staid Gentleman. (p. 55)

John Lambert, a major-general and second only to Cromwell in command, had previously pursued Charles II to defeat at Worcester (1651) and been handsomely rewarded by Parliament. In March of 1660, however, he was imprisoned in the Tower of London (clearly Tatham’s “staid” is a pun). Condemned for treason in 1662, Lambert was eventually exiled to Guernsey. Other editions: T233A (1661), T234 (1661), pp. 25, 55; T234A (1661). 378. Walker, Clement, The Compleat History of Independency. W324. UMI (Thomason Tracts) 155: E.1052 [1]

For a reference in which Cromwell is called the Don Quixote of the Independents, see Anarchia Anglicana: or, The History of Independency, W315 (1648); in this edition, the passage is found on p. 30. Other editions: W324a (1661), p. 30; W324b (1661), p. 30; W324c (1661), p. 30. Also found in The History of Independency (1660): W331 (UMI 1161:10), p. 30. Also found in Relations and Observations (1660): W335a (UMI Thomason Tracts 155:E.1052 [1]), p. 30. 17

Philagathus: an ambiguously useful name, Philagathus clearly refers here to General George Monck. See Randall, Winter Fruit, 300–3.

1660

237

17. The so-called “Rump” Parliament was held by many to be the “dreggs” that remained of England’s Long Parliament after 1648, when the House of Commons was purged of Presbyterians and their sympathizers. The Rump abolished monarchy, created a Commonwealth, and governed with a Council of State. Dissolved by Oliver Cromwell in 1653, it was resuscitated briefly in 1659, but later that same year made way for a new Parliament and the crowning of Charles II.

238

cervantes in seventeenth-century england

379. Williams, Griffith, º ¡ÌÙȘÒÈÛÙÔÚ [Ho Antichristos], The Great Antichrist Revealed. W2662. UMI 1271:13 A notable Welsh cleric who was appointed royal chaplain in 1636, Williams (1589?–1672) was consecrated Bishop of Ossory in 1641, but that same year he fled to England when the Irish rebellion broke out. A high churchman, he was arrested by parliamentarians and for nearly twenty years suffered a variety of hardships. Not until the Restoration in 1660 was he able to publish his Great Antichrist Revealed —the Antichrist being none other than the Long Parliament’s Westminster Assembly of 1643–9. At the very end of The Great Antichrist Revealed, in book 3, chapter 7 (“Of the continuance, and destruction of the beast”), Williams concludes with a reference to Don Quixote and his battle with a windmill (DQ 1.8): I look that some . . . bold, blind, and ignorant Presbyterian Zoilus,18 like an Orlando furioso, will run at me, as Don Quixot ran against the Wind-mill, and like an angry Wasp, sting both me and my book . . . yet as gold is gold, though the Chimick19 say it is copper; and copper is but copper, though the deceitful Mountebank say it is gold; so the truth of my writings will be found true, when their lies and raylings . . . will appear of what stuffe they are unto the world . . . so will I gently and charitably pray that God would give them more grace, to have lesse malice. (p. 83; 3rd pagination)

Another edition in 1660: W2662A. Another edition: W2662B (1661), UMI 2299: 25, p. 83 (3rd pagination) 380. Winyard, Thomas, Midsummer-Moone: or, Lunacy-Rampant in J. Cleveland Revived: Poems, Orations, Epistles, and Other of His Genuine Incomparable Pieces. C4675. UMI (Thomason Tracts) 242: E.2122 [2]

For an early example of Don Quixote’s name being turned into a verb, see Winyard’s Midsummer-Moone: or, Lunacy-Rampant. Being an Universitie Character, and a Short Survey of Some of the Late Fellows of the Colledges, W3097 (1648); in this edition of Cleveland’s poems, the passage is found on p. 181 Other editions: C4676 (1662), p. 173; C4677 (1668), p. 173.

18 19

Zoilus was a fourth-century Greek rhetorician whose name had become proverbial for bold and carping criticism. Chimick: i.e., chemic, chemist, or alchemist.

@

1661

#

381. Brome, Alexander, Songs and Other Poems. B4852. UMI 1399:12 The versatile Brome (1620–1666), an attorney by profession, includes here a four-part poem titled simply “Song XIX ” but focused on different kinds of beverages. After singing the praises of “princely Canary” in the first part, he moves on to “Sider and Perry” in the second.1 To suggest the effect of imbibing the latter two, he concocts a term that is not likely to have come to mind had he not known of Sancho Panza’s comment on Don Quixote’s encounter with a windmill (DQ 1.8). The opening three lines read: Our Sider and Perry, May make a man mad but not merry; It makes people windmill-pated.

(p. 82)

In a section devoted to verse epistles, one epistle is addressed “To a Potting Priest2 upon a Quarrel,” and in it are references to an errant knight and to Don Quixote’s watermills (DQ 2.29): I marvel what inspird, this valour in you[.] . . . . . . . I need not ask your reason, for ’twas gone; Nor had you sense enough to feel you’d none: Was it to shew your Mistress you could fight; Living ’ith’ woods, you’d be an Errant Knight? . . . . . . . But such weak sillogismes from you ran, As I could never read in Keckerman.3 That brain-aspiring drink, so much did nip us, You mistook Aristotle, for Aristippus. ’Twas this your brains with Proclamations fills, And twirles them like Don Quixots watermils.4

(p. 194)

Other editions: B4853 (1664), pp. 156–60, 219–21; B4854 1668), pp. 143–6, 200–01. Also found in Rump: or, An Exact Collection of the Choycest Poems 1 2 3 4

Canary: a sweet wine from the Canary Islands. Perry: a fermented drink made from pear juice. Potting: tippling, drinking, as in Shakespeare’s Othello (2.3.79). Bartholomew Keckermann (1571/3–1609) was a German polymath, famous as a scientist, doctor of divinity, and professor of philosophy. Of the three kinds of mills mentioned in Don Quixote, perhaps the most likely to be remembered here is the fulling mill in DQ 1.20. Consisting of a Large waterwheel and a number of wooden hammers, it made a sufficient racket at night to terrify Don Quixote and Sancho.

240

cervantes in seventeenth-century england

and Songs: B4851 (1662), pp. 299–302, in which “The New Knight Errant” has another title: “On Col. Pride.” 382. Brooke, Nathaniel, “Books in the Press,” in John Selden’s »Â·ÌËÒ˘ÔÚ [Theanthr¯opos]: or, God Made Man. A Tract Proving the Nativity of Our Saviour to Be on the 25. of December. S2439. UMI (Thomason Tracts) 225: E1809 (2)

At the end of this volume, there is a catalogue of books sold by Nathaniel Brooke at the Angel in Cornhill. Under the heading “Books in the Press and now printing,” the ninth is: “The History of Donquixot, or the Knight of the ill-favoured face, a Comedy” (sig. H5v ). It appears, however, that despite fairly frequent references to it, no such work has survived. See Brooke’s “Books Very Lately Printed, and in the Press” (1658). 383. Brooke, Nathaniel, “Books in the Press,” in Wit and Drollery, Joviall Poems. W3132. UMI 1112:2 As Knowles notes (“Cervantes and English Literature,” 281), Nathaniel Brooke lists “The History of Donquixot, or the Knight of the ill-favoured face, a Comedy,” among other books for sale at the sign of the Angel in Cornhill (no pagination). See Brooke’s “Books Very Lately Printed, and in the Press” (1658). 384. Carpenter, Richard, A New Play Call’d The Pragmatical Jesuit New-leven’d. C624. UMI 448:16 Richard Carptenter (1605–1670?) was an on-again, off-again Roman Catholic priest and monk as well as a sometime Protestant preacher and writer. Despite the fact that he never finally broke with the Roman Catholic Church, his surviving publications all come from the Protestant phases of his life.5 Among these works is a closet drama called The Pragmatical Jesuit New-leven’d, wherein he has Lucifer allude to Don Quixote’s follies. Addressing one of his agents, Lucifer says: Monsieur Kickshaw; 6 Load and physick this Nation as far as possibly you can, with the pretty Muld-sack 7 or Don Quickshot of your new Fashions: And as old Rome did abound with the gods of all the Countreys they conquer’d, introduce the Follies and Drolleries of all the world hither. (p. 17)

385. Cleveland, John, Poems by J. C. with Additions Never Before Printed. C4695.UMI 658:8 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on pp. 37–8. 5 6 7

William E. Burns, Oxford DNB, 10:242–4. Kickshaw: something of little or no value, a trifle or gewgaw; a frivolous person (OED). Sack, any one of several white wines imported from Spain, was mulled by being warmed and mixed with spices, sugar, and even fruit.

1661

241

For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 182. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 191. 386. Davenport, Robert, The City-Night-Cap: or, Crede quod habes, & habes. A Tragi-Comedy. D369. UMI 451:27 Dating back to 14 October 1624, when it first appeared in the papers of Sir Henry Herbert, Master of the Revels, this play by Robert Davenport (fl. 1624– 1640) has been thought to be indebted to Cervantes. Langbaine remarked in 1691 that it was acted in his own time “with great applause . . . at the Phoenix in Drury Lane” and that it borrowed significantly from Don Quixote 1.33–5. More specifically, “The Plot of Lorenzo, Philippo, and Abstemia, is borrow’d from the Novel of the Curious Impertinent in the Romance of Don Quixot.”8 Later scholarship, however, has suggested that the plot-line in question may be closer to that in Robert Greene’s Philomela; the Lady Fitzwater’s Nightingale (Bentley, Jacobean and Caroline Stage, 3:227–8). 387. Ellis, Clement, The Gentile Sinner: or, England’s Brave Gentleman. E556A. UMI 2555:3 For a reference to the popularity of Don Quixote and its influence on the beau monde, see E556 (1660); in this edition, the passage is found on p. 32. Another edition in 1661: E557 (UMI 1591:36), same pagination. 388. Gayton, Edmund, Epulæ Oxonienses: or, A Jocular Relation of a Banquet at St. John Baptists Colledge. G411. UMI 2029:27 Some eighteen years before his major Cervantine publication, Festivous Notes (1654), the apparently irrepressible Gayton attended a banquet on the occasion of a royal visit to Oxford. Commemorating this festive event staged by Archbishop William Laud for Charles I, Gayton produced a poem consisting of nine six-line verses and an eight-line chorus, all focused on the extraordinary edibles provided for the occasion. It appears that in a “Marchpane-shew” the “Gown-men” and even “Mr. Vice-Chancellor” “were in Marchpane wrought.” Stanza VII gives a fair taste of the whole piece: it refers to the exploits of Jeffrey Hudson (1619–1682), Queen Henrietta Maria’s dwarf, said to be about eighteen inches tall. I think that Jeffrey waiting on the Queen. Devoured at one Champ the Verger clean. But then (O rude!) As at a Proctors Choice 8

An Account of the English Dramatick Poets, 17. See also Langbaine and Gildon, The Lives and Characters of the English Dramatick Poets (1699), 35.

242

cervantes in seventeenth-century england In run the Masters, just like little Boyes. So did the Ladies, and their Servants fall, Upon the Marchpane-shew, Doctors and all.

The complete text of the song is found on p. 1, the music and the first stanza on p. 2. Most noteworthy for us here, however, is that Gayton in 1661 chose to provide this commemorative poem from 1636 with an introductory first stanza that mentions not only the “huge Feast” put on for royalty by England’s “High Priest,” Laud (beheaded in 1645), but also his own later Festivous Notes and Cervantes’s “Great” knight: It was (my Staff upon’t) in Thirty Six, Before the Notes were wrote on Great Don Quix That this huge Feast was made by that High Priest, Who did caress the Royalist of Guests. (p. 1)

389. Kirkman, Francis, A True, Perfect, and Exact Catalogue of all the Comedies, Tragedies That Were Ever Yet Printed and Published, Till This Present Year 1661. K637. UMI 2127:6; 1801: 6 (as T2853) Kirkman’s headnote advertises that customers “may either buy or sell [books] at the several shops of Nath. Brook at the Angel in Cornhil, Francis Kirkman at the John Fletchers Head, on the Back-side of St. Clements, Tho. Johnson at the Golden Key in St. Pauls Churchyard, and Henry Marsh at the Princes Arms in Chancery-lane near Fleetstreet.” The plays are listed in alphabetical order by title beginning with As You Like It. Under “D” we find “Rob. Baron” identified as the playwright of “Don Quixot, or the Knight of the ill-favoured countenance” (p. 4). The play is marked with the letter C , denoting that it is a comedy. Though enough references to this work survive to suggest that it was written, no copy of such a play appears to have survived. See Brooke’s “Books Very Lately Printed, and in the Press” (1658). Also found in Tom Tyler and His Wife. Together, with an Exact Catalogue. T1792A (UMI 582:26; UMI 582:27), p. 4 (2nd pagination); catalogue not found in T1792 (1661). Other editions: K637A (1671), no reference to Don Quixot. No reference in An Exact Catalogue, L373A (1680). 390. Manes Presbyteriani: or, The Monuments of the Kirk. M421. UMI 988:13

In this collection of short pieces about the Church of Scotland, there is a section headed “A Dialogue between Mr. Guthrey and Mr. Giffan.” James Guthrie (1612?–1661) was a Covenanter minister in Stirling. He was also one of the leaders of the Remonstrants who refused to accept the ecclesiastical authority of Charles II. As a consequence of his religious intransigence he was hanged in Edinburgh on 1 June 1661, and his head was displayed on the Netherbow Port. Sentenced to die on the same scaffold immediately after Guthrie was Captain

1661

243

William Govan, who has been described as both “a blunt Protester soldier” and a friend of Guthrie. Having heard Guthrie’s last words and observed his demeanor, Govan is said to have exclaimed, “It is sweet! It is sweet!”9 In an unsympathetic introductory epistle addressed “To the Reader” of this work, the compiler compares Guthrie to Don Quixote and Govan to Sancho Panza: Room for St. Guthrey, a name conformable and consonant to the Legend, the precise moderns will make miracles of him, and save us the labour to tell you how he was hanged. As for Giffan he was but his Sancho Panca; his story is bound up in this Quixots, and so they go together. (no pagination; no signature)

391. Massinger, Philip, and Thomas Dekker, The Virgin-Martyr: A Tragedie. M1054. UMI 642:1 For a possible allusion to DQ 1.8 in 2.2, see STC 17644 (1622); in this edition, the passage is found on sig. C4v . 392. Merry Drollery: or, A Collection of Jovial Poems, Merry Songs, Witty Drolleries. The First Part. M1860. UMI 1729:10 For an allusion to Dulcinea, see D991 (1653), Sir John Denham’s Certain Verses; in this edition, the passage is found in “On Gondibert,” p. 113. 393. Middleton, Thomas, and William, Rowley, The Spanish Gipsie. M1987. UMI 608:8 Middleton and Rowley used two of Cervantes’s stories, La Gitanilla and La Fuerza de la Sangre, from Novelas ejemplares (1613) as elements in their plot; see M1986 (1653). Another edition in 1661: M1988 (UMI 608:9). 394. Phillips, John, An Introduction to Astrology. P2087. UMI 1857:3; UMI 373:6b

In a discussion of the signs of the zodiac, Phillips (1631–1706?) —who a good many years later would produce a translation of Don Quixote—refers to Sancho Panza and Dulcinea and mentions Don Quixote’s doublet (DQ 1.1) which he relates to a garment belonging to Nessus, a centaur who kidnapped the wife of Hercules, Dejanira. Hercules shot Nessus in the heart with an arrow, but himself died an agonizing death when wearing a magic garment that had once belonged to Nessus. The ninth Sign, they say, is Centaure; This was Nessus that clapt Dejanira, who gave Hercules the Pox, of which he died. A fit fellow indeed to be in Heaven. 9

Quoted from Alexander Smellie, Men of the Covenant: The Story of the Scottish Church in the Years of the Persecution (Edinburgh: Banner of Truth Trust; 1st pub. 1903; repr. from 1924 edn., 1975), 88–99. See also The True and Perfect Speech of Mr. James Guthrey . . . as It Was Delivered by Himself Immediately before His Execution (1661), G2267.

244

cervantes in seventeenth-century england

Let um look therefore a little better, and they’ll find it to be a Spanish Doublet with hanging sleeves. This was the Doublet which Don Quixot wore in all his adventures. Albohali in his book of the Knowledge of the Stars, saith, that there is a copy of verses writ upon it by Sancha Pancha in praise of Dulcina del Toboso.10 (pp. 7–8; sig. A4r–v )

Phillips goes on to observe, “The twelfe house . . . hath not been much in request since Popery and Knight Errantry have been out of fashion” (pp. 25–6). Also found in Jack Adams, His Perpetuall Almanack: A1240A (1662), pp. 7–8; Jack Adams Corrected and Amended, A1240 (1663), p. 17; A1241 (1663), p. 17. 395. Tatham, John, The Rump: or, The Mirrour of the Late Times. A New Comedy. T233A. No UMI For an allusion to DQ 1.2–3 et seq. and a reference claiming that John Lambert was one of Don Quixote’s lords, see T233 (1660); in this edition, the passages are found on pp. 25, 55. Other editions in 1661: T234 (UMI 827:9), pp. 25, 55; T234A. 396. Walker, Clement, The Compleat History of Independency. W324. UMI (Thomason Tracts) 155: E.1052 [1]

For a description of Oliver Cromwell as the “Don Quixote of the Independents,” see Anarchia Anglicana: or, The History of Independency, W315 (1648); in this edition, the passage is found on p. 30. Other editions in 1661: W324A, p. 30; W324B (UMI 2102:4), p. 30; W324C (UMI 2102: 4), p. 30. 397. White, Thomas, Devotion and Reason, First Essay. Wherein Modern Devotion for the Dead Is Brought to Solid Principles and Made Rational. W1818. UMI 443:4 A philosopher and Roman Catholic priest, Thomas White (1592/3–1676) was also the energetic author of some forty works, all of which had the distinction of not only being placed on the Index librorum prohibitorum but also of being condemned by an English Parliament that was wary of his tendency “to Atheism, Blasphemy, or Profaneness.”11 A leader among Catholics willing to place a higher value on religious toleration than papal temporal powers (he denied the pope’s infallibility), White also held it possible for human beings to attain certain truth. The title page of his Devotion and Reason (which was published in Paris) explains that White wrote the work as a response to “Mr J.M’s Remembrance for the Living to pray for the Dead.” That is, his book is a response to one by J. Mumford (1606–1666). Well into his own work, and after declaring “that 10

11

Albohali, who died about a.d. 835, saith no such thing. However, Albohali arabis astrologi antiquissimi, the work of Yahya ibn halib Abu ’Ali Khayyat did make its way into Latin at Nuremburg in 1546. Beverly Southgate, Oxford DNB, 58:625–7.

1661

245

prayers for the dead are to be recommended to the faithful for the living’s sake” (p. 282), White declares also: It is time now to look into what your Divine objects, for he seems to be in choler. He tells us we use loud exclamations, purposely to cool the laudable practise of such, who by their Will and Testament leave a strict obligation to their Executors to procure the next morning, or as soon as may be, all those Sacrifices to be offered, which they intend for the relief of their souls, though they should be thousands, yea, though they should take no special order to have many offered after that time. He does as he was wont to do, and as Don Quixot gave him example, to mingle some false, and some true to shadow the false. (pp. 283–4)

398. Williams, Griffith, º¡ÌÙȘÒÈÛÙÔÚ [Ho Antichristos], The Great Antichrist Revealed. W2662B. UMI 2299:25 For a reference to Don Quixote and his battle with a windmill (DQ 1.8), see W2662 (1660); in this edition, the passage is found on p. 83 (3rd pagination).

@

1662

#

399. Adams, Jack, Jack Adams, His Perpetuall Almanack. A1240A. UMI 373:6a

For an allusion to DQ 1.1 and references to Don Quixote, Sancho Panza, and Dulcinea, see John Phillips’s Introduction to Astrology, P2087 (1661); in this edition, the passage is found on pp. 7–8. See also: Corrected and Amended, A1240 (1663), p. 17; A1241 (1663), UMI 2415: 20, p. 17. 400. Allestree, Richard, The Gentlemans Calling. A1117. UMI 680:8 For a reference to the danger of accepting the fable of Don Quixote as authentic history, see A1115 (1660), where Allestree also mentions Sancho Panza and alludes to Don Quixote; in this edition, the passage is found on pp. 141–2. 401. Atwood, William, A Covert for the Orthododox [sic] Christian: or, A Discovery of the Presbyterian False Exposition of Scripture. A4170. UMI 1139:23

An English barrister who rose to be chief justice and judge of the court of admiralty in New York (1701), Atwood (d. 1705?) was eventually suspended there for inept administration and corruption (1702) and returned to England. Both before and after this public rise and fall, he turned out numerous political pamphlets and books, including the one at hand in which he vents mocking disapproval of Presbyterians. Specifically, he targets the Presbyterian position on Christmas and the Oath of Supremacy (i.e. allegiance to the monarch). In the passage cited here, and after posing a series of sarcastic questions, he takes up a theatrical metaphor that draws in Don Quixote and Sancho Panza: What is to be thought of these goodly men? Do not the Grave and Learned Moderators among them well deserve preferment? Shall not they presently, at least, be made Prebends, Deans, or Bishops? Surely, they have been so already in their own conceits; in play and in sport they have been so; may they not also be so seriously? Since they have acted it so well; for they have been Ingenious Actors, gallant Stage-men; they have Acted with a King and no King;1 and a little before our Majestie’s coming in, they were playing the fools one with another; and in jest, (as well they might) they set upon an Hierarchy among themselves, the lowest of their Clergy (may the word be proper) were Bishops; the highest Moderators, Prolocutors, Super-Intendents, or (if you please) Archbishops: they only acted a mock-Romance, and now, like phantastical Don Quixiote [sic], and his madd-man Sancho Pancha, they thought themselves Brave Fellows: but they 1

A King and No King: besides alluding to Charles I and his dethronement, Atwood perhaps recalls here Beaumont and Fletcher’s tragicomedy A King and No King (1611).

1662

247

were (too too soon, as they thought, and only they), awaked out of their golden dream with a jogge from the lawful Bishops; who added an Epilogue to their Prologue; and, if they have not yet, perhaps they may soon send them an Exeatis;2 and thus they have reallized [sic] their Show, and morallized their Fable for them; the Presbyterians all this time having been Tragi-comical, and Comi-tragical. (p. 26)

402. Birkenhead, John, The Assembly-man; Written in the Year 1647. B2961. UMI 446:10 As Knowles notes (nos. 19, 20), this work, despite the year of its writing, was first published in 1662/3. The assembly indicated in its title was the Westminster Assembly of Divines appointed by the Long Parliament in 1643 to help settle church-related matters. Subsequent achievements of this body over the next few years included abolishing the Book of Common Prayer and all bishops, archbishops, and cathedral clergy. An assembly-man, says Birkenhead on his title page, “seditiously stirr’s up men to fight: he’ll teach others the way whereof himself is most ignorant; and perswades men to take an Oath, because himself had sworn it before.” Almost surely the oath he intends is the most notable one of the period—the oath to uphold the Solemn League and Covenant, which at first involved only Members of Parliament and the army but ultimately included nearly everyone. Birkenhead’s allusion to the shattered lance is probably to DQ 1.8, and his reference to eggs and collops to a sentence in DQ 1.1 (wherein the wording differs in the 1612 and 1620 English editions). Yet sometimes (to shew his [the Assembly-man’s] skill in Keckerman),3 he Butcher’s a Text, cut’s it (just as the Levite did his Concubine) 4 into many dead Parts, breaking the Sense and Words all to pieces, and then they are not Divided, but shatter’d, like the Splinters of Don Quixot’s Lance. (p. 16)

A couple of pages later, as Knowles has noted,5 the author makes a singular comment on an English translator of Don Quixote: Sometimes the Assembler will venture at the Original, and then (with the Translator of Don Quixot) he mistakes the Sobs and Sighs for Eggs and Collops. (p. 18)

The writer evidently has in mind the 1620 or 1652 edition, the first part of which translation is said to be mainly by Shelton, and the third sentence of which, speaking of Don Quixote, says that “His pot consisted daily of somewhat more Beef then Mutton, a Galli-mawfry each night, Collops and Eggs on Saturdayes” 2 3 4

5

From Latin exire, to go out; reminiscent of early stage directions. Bartholomew Keckermann (1571/3–1609), a renowned theologian and philosopher. Judges 19:29. The passage tells of “a certain Levite” who, “when he was gone into his house, he took a knife, and laid hold on his concubine, and divided her, together with her bones, into twelve pieces, and sent her into all the coasts of Israel.” Knowles, “The First and Second Editions of Shelton’s Don Quixote Part I: A Collation and Dating,” Hispanic Review 9 (1941): 252.

248

cervantes in seventeenth-century england

(p. 1). Shelton himself, however, in 1612, had written: “His pot consisted daily of somewhat more Beefe then Mutton, a little mince meate every night, griefes and complaints the Saturdayes” (pp. 1–2). Cervantes had written in his own second sentence: “Una olla de algo más vaca que carnero, salpicón las más noches, duelos y quebrantos los sábados” (e.g. Obras completas, 1:25). Other editions: B2962 (1681), pp. 12, 13; B2963 (1682) and C6697 (1682), pp. 16, 17. 403. Brome, Alexander, Rump: or, An Exact Collection of the Choycest Poems and Songs Relating to the Late Times by the Most Eminent Wits, from Anno 1639 to Anno 1661. B4851. UMI 1224:6 In part I, under the running head “Rump Songs,” are two poems with allusions to Don Quixote. For a reference in “The Publique Faith,” see John Cleveland’s “Smectymnuus, or the Club-Divines,” C4662 (1647); in this edition, the poem is found on pp. 157–60 and the allusion on p. 158. For a likely allusion in “The New Knight Errant,” see Brome’s Songs and Other Poems, B4852 (1661); in this edition, the poem is found on pp. 299–302 with a new title: “On Col. Pride.” Colonel Thomas Pride (d. 1658), a soldier in the parliamentary army, is the man who in 1648 kept 130 members of the House of Commons from entering—thus being immediately responsible for what became known as “Pride’s Purge” (see Fig. 17, p. 237). Later he was among the signers of Charles I’s death warrant. 404. Brooke, Nathaniel, “Books Sold by Nath. Brook,” in Cotgrave’s The Wits Interpreter. The English Parnassus. C6371. UMI 683:18

At the end of Cotgrave’s text, under the running head “Books sold by Nath. Brook at the Angel in Corn-Hill,” in a section called “Books in the Press, and now Printing,” item 139 is “The History of Donquixot, or the Knight of the illfavoured face, a Comedy” (sig. Ll7v ). See Brooke’s “Books Very Lately Printed, and in the Press” (1658). A similar reference is found in Loveday’s Letters Domestick and Forrein (1662), sig. T8r . 405. Cleveland, John, Poems by John Cleveland with Additions Never Before Published. C4696. UMI 1305:36 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 39. For a reference to Don Quixote in “The Publique Faith,” sometimes attributed to Cleveland, see Richard Fletcher’s Ex otio negotium: or, Martiall His Epigrams Translated. With Sundry Poems and Fancies, M831 (1656), where it was first published; in this edition, the passage is found on p. 90. The poem was also reprinted in Alexander Brome’s Rump, B4851 (1662), q.v.

1662

249

For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 184. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 193. 406. Cokaine, Aston, Poems. With The Obstinate Lady. C4897. UMI 1736:30

For an epigram addressed to Dulcinea, see A Chain of Golden Poems, C4894 (1658); in this edition, the passage is found on p. 197. For references to Don Quixote’s Rocinante and Sancho Panza’s “ass errant” and to Don Quixote as a modern writer, see The Obstinate Lady, C4896 (1657); in this edition, the passages are found on pp. 318, 344. Another edition in 1662: C4897A, pp. 197, 318, 344. 407. Cotgrave, John, The Wits Interpreter. The English Parnassus. C6371. UMI 683:18

For an allusion to the comic qualities of Don Quixote in Nathaniel Brooke’s commendatory essay, see C6370 (1655); in this edition, the passage is found on sig. A8v . There are other references in this edition. In “An Exact Chronology of Memorable Things,” there is a reference to Don Quixote, an allusion to DQ 1.21: Since Don-Quixot wore Mambrino’s Bason instead of an Head-piece. 82 [years]. (sig. (bb3v ) [sic]; p. 390)

For a reference to Nathaniel Brooke’s book list that includes “The History of Donquixot, or the Knight of the ill-favoured face, a Comedy,” see Brooke supra. Other editions: C6372 (1671), Brooke’s essay, sig. A2v ; others not present; C6372A (1671), sig. A8v , p. 390, sig. Ll7v . 408. Foulis, Henry, The History of the Wicked Plots and Conspiracies of Our Pretended Saints. F1642. UMI 277:5 In book 3, chapter 3, writing of “The small, or rather no, Authority or Power that the Presbyterians allow the King to have over them,” Foulis (1635–1669) mentions Sancho Panza’s dining dilemma (DQ 2.47): Thus would they make their King meerly Titular, and a perfect Slave and Captive to their Wills. Not unlike Sancho Panco, who for sport-sake was made Governour of the Islands, but had no Authority; nay, scarce liberty to eat his Victuals. (p. 206)

Other editions: F1643 (1674), UMI 277:6, same pagination.

250

cervantes in seventeenth-century england

409. Gayton, Edmund (attrib.), A Ballad on the Gyants in the Physick Garden in Oxford. G406a. UMI 2867:38 Anthony à Wood, himself an old Oxonian, wrote the date 1662 on a copy of this ballad which later became one of the sources used by Hyder Rollins in preparing a transcription of it for inclusion in his 1927 anthology titled The Pack of Autolycus. The ballad consists of forty-six four-line stanzas (all presumably suited to the tune of “The Counter Scuffle”) and, according to Rollins, it was composed in response to an earlier ballad on the same subject by Gayton, “Upon Mr. Bobard’s Yew-men of the Guards to the Physick Garden” (G417). 6 Despite its potentially alarming title, this “Ballad of the Gyants” treats no giants and not even any windmills, but two yew trees that have been pruned to resemble giants. Besides references to Don Quixote, Sancho Panza, and Dulcinea, there is a reference to Mambrino’s helmet (DQ 1.21 et seq.). In part a jocular celebration of both Jacob Bobart and the Physic Garden in his keeping at Oxford, the ballad claims that Jacob and his Gyants will Not suffer any thing that’s ill (Unlesse it be for purge or pill) There growing. (Rollins, Pack of Autolycus, 111)

It is in stanza 29 that these arboreal “Gyants” begin to be related to Cervantes’s book thus: What would you more then Gyants high Forbeare yee to approach too nigh, You’l fright the Lady Dulciny TOBOSO. And yet that Lady hath a Knight That wil drink wine when he should fight And Sancho loves with all his might To doe so. To all adventures dangerous, As the Mill nigh can tell to us, This Knight will some times fiercely rush And’s Man sterne. Theres no avoiding of that Knight, Errant yclept, for day and night He comes these Gyants to affright With Lanthorne. 6

Hyder Edward Rollins, ed., The Pack of Autolycus (Cambridge, MA: Harvard University Press, 1927), 107. Jack Bobart, originally from Germany, was later in charge of the Physic Garden at Oxford. Some would call him the best gardener in England at the time.

1662

251

Not Faux-like on a black designe To mirth he only doth incline And hath a Page, if no Moon shine, Attending. 7 For hee’l nor carry coales nor light Nor yet his Squire, who goes upright But yet they are for any wight Defending Or injur’d Lady, or Fleec’d sheepe[.] Good lack what Racket they doe keep And never Eat, nor Drink, nor Sleepe Till Gyant, And one-eyd Monsters humbled are Unto their feet, which smell most rare, With making constant Fewd, and warre O Fie on’t! What though these Gyants harnest be Compleatly too, That’s Cap a Pe,8 And can with Feet deale lustily In boxes. Yet Don Quixot is arm’d allso With brasie helmet of Mambrino 9 Hee’l suffer them no harme to do To’s doxes:10 So that ’tis prudence to induce The Knight and Giants to a Truce, That we the Garden still may use In quiet, And drink what springs from Scurvy gras (Without making a scurvy face,)11 So shall we keep this pleasant place From Riot[.] (Rollins, Pack of Autolycus, 111–13)

7

8 9 10 11

The poet makes light of Guy Fawkes (1570–1606) and his part in the plot to blow up the Houses of Parliament and as many members of the royal family as might be in attendance there on 5 November 1605. Harnest: harnessed—armored. Cap a Pe: head to foot. Don Quixote perceives a barber’s bowl as a great knight’s helmet of gold, however, not brass. Doxes: doxies, girls or women of ill repute. Scurvy-grass: spoonwort, mainly considered a remedy for the disease called scurvy, was also thought useful as a gargle for mouth sores. Scurvy alone could be an adjective meaning “low” or “contemptible,” certainly unpleasant.

252

cervantes in seventeenth-century england

410. Kirkman, Francis (?), The Wits: or, Sport upon Sport. Select Pieces of Drollery, Digested into Scenes by Way of Dialogue. W3218. UMI 1112:6

In this collection of short dramatic entertainments known as drolls, sometimes attributed to the bookseller and author Francis Kirkman (1632–c.1680), at least three items reflect the influence of Cervantes. One cannot say when or by whom the individual pieces were created or whether they were intended for reading or performing (or both), but one might suppose that the cutting and pasting occurred sometime during the period when the theaters were closed (1642–60). It is certain that the work was printed for Henry Marsh (at the Prince’s Arms in Chancery Lane) and that in a “Greeting” from the “Stationer” to the reader, Marsh claims: “I have undertaken to collect a Miscellany of all Humours which our Fam’d Comedies have exquisitely and aptly represented in the becoming dress of the stage” (sig. A3r ). Included in the volume is a short droll titled An Equall Match, which is traceable back through John Fletcher’s Rule a Wife and Have a Wife to a story in Cervantes’s Novelas ejemplares (see herein 1624: Fletcher).12 In fact, An Equall Match has been lifted more or less intact from Fletcher’s subplot (3.2, 3.4, and 4.1), and the result is a short but reasonably complete dramatic unit. Moreover, it is provided with a succinct “Argument”: “A loose Officer, and a wanton waiting Woman, marry in hope of eithers Riches, and cozen one another” (p. 45). As the droll draws to a close, the disillusioned bride, Estifania, realizes that “shadow for shadow is an equall . . . justice,” and her husband, Perez, replies, “I have plaid the fool, and so I am rewarded” (p. 50). Another droll here, called The Landlady, is based on Fletcher’s comedy The Chances (1613–25: 1617?), which is in turn indebted to Cervantes’s La Señora Cornelia, another story from Novelas ejemplares. In this instance the writer has lifted, somewhat modified, and rather confusingly cobbled together three scenes from The Chances (1.9, 3.1, and 3.3). The “Argument” of the droll is therefore helpful: A Gentleman by accident takes a child and brings it to his Lodging; his friend afterward happens to meet with a Lady, the mother of the child (unknown) and brings her to the Lodging, &c. (p. 140)

For a reference to Don Quixote and allusions to DQ 1.8 in a third droll titled The Humours of John Swabber, see also Robert Cox’s Actaeon and Diana C6710 (1655); in this edition, the passage is found on p. 124. Other editions: W3219 (1672), The Humours of John Swabber: pp. 121–33 (Don Quixote, p. 124); The Landlady, pp. 140–8. W3220 (1672), but neither John Swabber nor The Landlady is included. 12

Noted in Dyce, Works of Beaumont and Fletcher, 2:613.

1662

253

411. The Life and Death of Mrs. Mary Frith, Commonly Called Mal Cutpurse. L2005. UMI 2955:01 Beside what is ostensibly a diary of Mary Frith herself (alias Moll Cutpurse, the “roaring girl”), this anonymously presented work yields two references to Don Quixote. The first comes toward the end of a narrative about the duping of a cobbler who is also a constable. In a payback scam which makes the old man think he is coming into a significant inheritance, Mall (or Moll) utilizes the skills of one of her “imps.” When the old constable finally returns home from a fool’s trip, poorer than ever, the narrator observes: Though I knew not of his Arrival, yet had I notice of how farre my project was prosecuted by my Sancho Panca, whom I ordered to spread the report thereof abroad. (p. 30)

The second reference concerns “my fellow Humorist Banks, the Vintner in Cheapside who taught his Horse to dance.”13 Banks challenges Mall, an habitual cross-dresser, to “ride from Charing-Crosse to Shoreditch a straddle on Horseback in Breeches and Doublet, Boots and Spurs, all like a man cap a pe”14 (p. 36). Though followed by a cursing and laughing rabble, the narrator declares: In my own thoughts I was . . . Squiresse to Dulcinea of Tobosso the most incomparably beloved Lady of Don Quixot. (p. 37)

412. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3226. UMI 845:20

For a reference to Don Quixote and Sancho and an allusion to DQ 1.8, see L3225 (1659); in this edition, the passage is found on pp. 169–70. There is also an advertisement for Nathaniel Brooke’s establishment in Corn Hill; in “Books in the Press and now printing,” the ninth in the list is “The History of Donquixot, or the Knight of the ill-favoured face, a Comedy” (sig. T8r ). See Brooke’s “Books Very Lately Printed, and in the Press” (1658). 413. Newcastle, Margaret Cavendish, Playes Written by the Thrice Noble, Illustrious and Excellent Princess the Lady Marchioness of Newcastle. N868. UMI 502:11 In “A General Prologue to All My Playes,” the prolific Lady Marchioness says all her plots are original: From Plutarchs story I n’er took a Plot, Nor from Romances, nor from Don Quixot, As others have, for to assist their Wit, But I upon my own Foundation writ. 13

14

(sig. N7v )

The William Banks who began to perform with his dancing horse Morocco in the last decade of the preceding century may or may not have been William Banks the vintner in Cheapside, London, who appears to have been at work well into the 1630s. Cap a pe: i.e., cap a pie, head to foot.

254

cervantes in seventeenth-century england

Also found in Gerard Langbaine’s Account of the English Dramatick Poets: L373 (1691), p. 391. 414. Phillips, John, Montelion, 1662: or, The Prophetical Almanack. A2111. UMI 1414:30

Under the heading “September hath xxx.days,” “Sancho Pancho” is celebrated on the 9th, “Don Quixot” on the 10th (sig. B7v ). 415. Reynolds, John, The Triumphs of Gods Revenge. R1310 For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of Don-Quixote (part 1) or The Travels of Persiles and Sigismunda. A Northern History—see STC 20943.3 (1622); in this edition, the passage is found on p. 78. Another edition in 1662: R1310A, reference not present in Folger copy. 416. T., I., The Traytors Perspective-glass: or, Sundry Examples of Gods Just Judgments Executed upon Many Eminent Regicides. T15A. UMI 516:37

In a passage about the regicide Miles Corbet—who on 19 April 1662, along with eight others, was hanged, disemboweled, and quartered—the author alludes to Don Quixote’s ill-favored face: This is he who was Inquisitor General. . . . The Prologue to the Hangman, that looks more like a Hangman, then the Hangman himself; and may, (like Don Quixote) not undeservedly be stiled, the Knight of the ill favoured face. (p. 32)

417. Thomas, Edward, “Book Advertisement” in William Thomas’s A Preservative of Piety. T988. UMI 1160:19 (as T988A); 1820:21 A Somerset rector, William Thomas (1593–1667) offered here in his Preservative of Piety a volume of religious exercises designed to provide “a Quiet reasoning for those Duties of Religion, that are the means and helps appointed of God for the preserving and promoting of godliness” (title page). At the very end of his volume, however, on the verso of his final page, the tone lightens with a mixed list of “Some Books, printed and sold by Edward Thomas at the Adam and Eve in Little-Brittain [sic]”(sig. Gg4v ). Third on the list is Edmund Gayton’s “Festivous Notes on Don Quixot, Folio”—i.e., Gayton’s rather racy Pleasant Notes upon Don Quixot (1654). 418. Winyard, Thomas, Midsummer Moon in J. Cleveland Revived: Poems, Orations, Epistles, and Other of His Genuine Incomparable Pieces. C4676. UMI 658:5 For an early example of Don Quixote’s name being turned into a verb, see Winyard’s Midsummer Moon: or, Lunacy Rampant (1648), W3097; in this edition, the passage is found on p. 173.

1662

255

419. Woolnoth, The Coffee Scuffle, Occasioned by a Contest between a Learned Knight and a Pitifull Pedagogue. With the Character of a Coffee-House. W3528. UMI 2782:9 Since The Coffee Scuffle was printed and sold near the stocks at the Latine Coffee House, a place frequented particularly by scholars and doctors, it is a good example of self-mockery. Coffee houses in general were noted as places for men to converse, and in this instance the interlocutors are a threadbare pedant and a knight. The pedant is described as [A] dull Pedagog with a snout like a hogg, And a face as flat as a Flounder. He whips his boyes Asses and tickles their Tasses,15 Sees which is a man which a woman.

(sig. B1r )

—and a knight who admires Dutch scholars such as Desiderius Erasmus and Hugo de Groot, known as Grotius. In the very first stanza, mention is made of Don Quixote: Of Gyants and Knights, and their terrible Fights We have stories enough in Romances, Of Hercule’s Beam,16 and one ey’d Polipheme,17 With Don Quixot’s attempts and mischances.

15 16

17

(sig. A2r )

Tasses: Though imagination might suffice here, OED defines tasses as a kind of armor protecting the thighs and lower part of the trunk. Beam: The “beam” is probably Hercules’ spear described in terms of Goliath’s: “the staff of his spear was like a weaver’s beam” (1 Samuel 17:7; 2 Samuel 21:19); such a beam was a large wooden shaft on a loom. Polipheme: The giant Polyphemus, chief of the one-eyed Cyclopes, was encountered by Odysseus in his travels.

@

1663

#

420. Adams, Jack, Jack Adams His Perpetual Almanack [for 1663], with Astrological Rules and Instructions. The Second Edition Corrected and Amended. A1240. UMI 363:6a In his discussion of the signs of the zodiac, Adams cites Sancho Panza as an authority and expropriates a passage from John Phillips’s Introduction to Astrology (1661); in this edition, Adams (or Phillips, perhaps one and the same), “the sixth signe” has been revised to include a reference to Sancho Panza: The sixth signe, they call Virgo, who was a certain Virgin that being persecuted on earth fled to Heaven; but I deny this, because if she dyed a maid she was to lead Apes in Hell, and therefore Heaven was no place for her; But Sancho Panca in his Art of Astrologie saith, it was a Blew-Coat Boy,1 the first that ever was in Christ-Church, who was made a Constellation, because he was the first inventer of Jack a Lent.2 (p. 16; sig. B1v ) The ninth signe, they say is Centaure; but we affirme it a Spanish Doublet with hanging Sleeves, and the same which Don Quixot wore in his Adventures, wherein is a Copy of Verses writ upon it by Sancha Panca, in praise of Dulcina del Toboso. (p. 17; sig. B2r )

Another edition: A1241 (UMI 2415:20), pp. 16, 17. 421. B., F., Gent, Vercingetorixa: or, The Germane Princess Reduc’d to an English Habit. B65. UMI 445:8 In this satirical poem the chief target is Mary Carleton (hanged in 1673), an unusually clever con artist of the day who managed for a while to pass herself off as a wealthy German noblewoman. With a little encouragement, the young son of a vintner is described here as rising to the exotic bait when he hears the admonition “Sir Knight, pray cheer thy looks, | And mope no more like Don on Books” (p. 5). Presumably like a knight, he even has occasion to address his “bright blade made of good steel”—at which point a shoulder note to the poem refers to Don Quixote: Note, that Knights errant of Yore used to make such-like Speeches to their Swords or Horses: as you may see several in the Reverend Legend of Don Quixot. (p. 13). 1 2

Blew-coat boy: a charity school scholar who wears the almoner’s blue coat. Of England’s many such schools, the best known is Christ’s Hospital in London (OED). Jack a Lent: a little puppet made for pelting during Lent.

1663

257

422. Brooke, Nathaniel, “Books in the Press,” in Phillips’s New World of English Words. P2070. UMI 1659:24 Nathaniel Brooke of the Angel in Cornhill advertises “The History of Donquixot, or the Knight of the ill favoured face, a Comedy” ninth in a catalogue of “Books in the Press, and now printing” (sig. Ss4r ). See Brooke’s “Books Very Lately Printed, and in the Press” (1658). A similar reference is found in Loveday’s Letters Domestick and Forrein (1663), L3227. 423. Butler, Samuel, Hudibras. The First Part. B6296. UMI 18:7 Butler (1613–1680) is generally among the first English writers to come to mind regarding presumed indebtedness to Cervantes. The fact is that his long, learned, mock-heroic, three-part verse satire Hudibras is extensively yet not very explicitly indebted to Don Quixote. As Knowles writes (“Cervantes and English Literature,” 284): In many superficial aspects the Presbyterian fanatic [Hudibras] resembles the Spanish knight—his physical appearance, his sorry nag, his certainty of his calling, his preconceptions which blind him to reality, his ill-success as a fighter, his long discussions with his squire Ralph. The squire is more of a knave and sophist than Sancho, more nearly on an equal footing with his master; and, unlike Sancho, he deserts his knight. But the differences outweigh the similarities.

Hudibras proved to be a great and immediate success. Part I is dated 1663 (though it first appeared in late 1662); part II is dated 1664 (but was published in 1663); a revised version of both came out in 1674; and part III was published in 1678. Among Butler’s various general and specific debts to Cervantes, Wilders suggests that Hudibras, 1.1.15–21 may allude to Don Quixote3 : A wight he was, whose very sight wou’d Entitle him Mirrour of Knighthood ; That never bow’d his stubborn knee To any thing but Chivalry, Nor put up blow, but that which laid Right Worshipfull on shoulder-blade: Chief of Domestick Knights and Errant, (p. 2) Either for Chartel4 or for Warrant.

Hudibras, 1.1.325–26 echoes DQ 1.2: “For though I passed over many [bookes], yet did I never finde recorded in any, that Knights errant did ever eate, but by meere chance and adventure, or in some costly banquets that were made for them.” Butler writes: 3 4

Indeed, virtually all of Butler’s allusions to Don Quixote recorded here are noted in John Wilders, ed. Samuel Butler: Hudibras (Oxford: Clarendon Press, 1967); present reference, p. 1. Chartel: a form of cartel, which has various meanings, the most likely here being “written challenge” (OED).

258

cervantes in seventeenth-century england And though Knights Errant, as some think, Of old did neither eat nor drink.

(p. 13)

Wilders also notes that “as an equal friend to both” (Hudibras, 1.2.37, p. 36) is an echo of the proverbial expression amicus Plato, amicus Socrates, sed magis amica veritas (Plato is my friend, Socrates is my friend, but truth is more my friend) which is mentioned in DQ 2.51. In Hudibras, 1.2.309–10 there is a specific reference to Don Quixote’s encounter with a flock of sheep (DQ 1.18): With greater Troops of Sheep h’had fought (p. 46) Then Ajax,5 or bold Don Quixot.

In Hudibras, 1.2.839–44, Butler echoes DQ 2.61: For he, by foul hap having found Where Thistles grew on barren ground, He clapp’d them underneath the Tail Of Steed, with pricks as sharp as nail.

(p. 64)

In Hudibras, 1.2.873, Butler refers to Sancho being tossed in a blanket, an allusion to DQ 1.17: As Sancho on a blanket fell, And had no hurt; ours far’d as well.

(p. 65)

In Hudibras, 1.3.477–8, Butler appears to echo Don Quixote’s frequent invocation of Dulcinea: This said, his Courage to enflame, He call’d upon his Mistriss name.

(p. 93)

Other editions in 1663: B6297 (UMI 885:22), pp. 2, 13, 36, 46, 64, 65, 93; B6298 (UMI 839: 32), pp. 2, 13, 36, 46, 64, 65, 93; B6299 (UMI 886:1), pp. 2, 13, 36, 46, 64, 65, 93; B6300 (UMI 840:1), pp. 2–3, 25, 74, 95, 136, 138, 199; B6301 (UMI 1120:6), pp. 2, 13, 36, 46, 64, 65, 93; B6301A (UMI 1756:6), pp. 2, 12, 36, 46, 65, 66, 95; B6302 (UMI 840:2), pp. 2, 12, 36, 46, 65, 66, 95; B6302A (UMI 1736:4), pp. 2, 12, 36, 46, 65, 66, 93 [really p. 95 (sig. E2r )]. Also found in Hudibras. The First [and Second ] Part: B6303 (1684), pp. 2, 20, 58, 74, 105, 106, 153; B6304 (1689), pp. 2, 20, 58, 74, 105, 106, 153; B6304A (1694, 1693), pp. 2, 20, 58, 74, 105, 105, 153. Also found in Hudibras. The First and Second Parts: B6311 (1674), pp. 2, 20, 58, 74, 105, 106, 153; B6311a (1675), (a ghost?); B6312 (1678), pp. 2, 20, 58, 74, 105, 106, 153. Also found in Hudibras. The First [and Second and Third] Part: B6305 (1700), pp. 2, 17, 48, 61, 86, 87, 125. 5

When Ajax failed to win the armor of dead Achilles, he was so enraged that he attacked and slaughtered a flock of sheep, thinking they were Grecian foes.

1663

259

Also found in Hudibras. In Three Parts: B6319 (1684), pp. 2, 20, 58, 74, 105, 106, 153; B6320 (1689), pp. 2, 20, 58, 74, 105, 106, 153; B6321 (1694), pp. 2, 20, 58, 74, 105, 106, 153; B6321A (1700); B6322 (1700). Also found in Hudibras Compleat. In Three Parts: B6322A (1700), pp. 2, 17, 48, 61, 86, 87, 125. 424. Butler, Samuel, Hudibras. The [Spurious] Second Part; With the Continuation of the Third Canto; to Which Is Added a Fourth Canto. B6308a. UMI 1182:16 In canto 4, the author says he has read Don Quixote: Quoth then a Squire (for Name unmated) To Hudibras he was related: Those stories that you hack upon, I have read (surely) every one, And Don Quixot, whose fame may pass, But weak to deeds of Hudibras.

(p. 99; sig. G4r )

425. Canes, John Vincent, An Epistle to the Authour of the Animadversions upon Fiat Lux. C428. UMI 911:3 Prior to this work, Canes (d. 1672), a theologian and pastor of Independents in London and Amsterdam, had written a book called Fiat Lux “to shew that wrangling about Religion is irrational and fruitless” (sig. A1v ). The theologian John Owen (1616–1683), an Oxford man created D.D. in 1653, wrote against it, and “this Epistle acquaints the Doctor of some of the ill qualities of those his Animadversions” (sig. A1v ). In part 1, “An Epistle to the Author of the Animadversions upon Fiat Lux,” in a critique of Owen’s eighth chapter, Canes alludes to DQ 1.8 and 1.18: [I]f every thing therin contained [in my book], answer not the idea of your brain, then it is impertinent with you, it is silly, it is besides the purpos[e]. . . . Thus the famous Knight, when he had once conceived an idea of his own errantry, every flock of sheep must be an army, and every wind-mill a giant, or els[e] it is impertinent to Don Quixot. (pp. 47–8)

Also found in Three Letters Declaring the Strange Odd Proceedings of Protestant Divines When They Write Against Catholicks (1671), same pagination. 426. Clark, William, Marciano: or, The Discovery. C4563. UMI 87:11 Clark’s title page continues: “A TRAGI-COMEDY, Acted with great applause, before his Majesties high Commissioner, and others of the Nobility, at the Abby of Holyrud-house on St. Johns night: By a company of Gentlemen”—one of whom may have been Clark himself. Apparently the play did not flourish: published in Edinburgh, it is introduced with the avowal that it appears “in a Country, where the cold air of mens affections nips such buds in their very infancy” (sig. A2r ).

260

cervantes in seventeenth-century england

Besides high characters such as Marciano himself (“a noble Siennois”) and Cleon, Duke of France, the play presents Pantaloni and Becabunga, “two rich gulls, in favour with the Ladies.” At the opening of 3.2, Cassio and Leonardo (“two noble Gentlemen of quality”) (sig. A4v ) comment on the approach of the gulls: Leon. But, aside, here comes Don Quixot and Sancho Pancho. Cass. ’Slid, let’s accost them. Leon. No, lets first observe their behaviour. (p. 32)

And so they do, and then engage them in banter. In the following act (4.7), the beautiful Arabella, beloved of Marciano, is held by Borasco, “Captain of the rebel guard,” a man who fancies her, even speaks of setting her free. Immediately after he exits, however, she exclaims, “Ah vain fomenter of vain, fruitlesse hopes, | Thy windmill-thoughts will break their axel-tree” (p. 54)—a wording that appears to invoke the foolishness of Don Quixote (DQ 1.8) in order to express scorn for the foolhardiness of Borasco. 427. Endymion, 1663: or, The Man-in-the-Moon His Northern Weather-Glass. A2492A. UMI 1922:3; 1651:5 (as E730) The anonymous author of this almanac was perhaps the “J. T. Interpreter of Mysteries, and Shewer of the Royal Tombs at Westminster” who signed the dedication (sig. A3r ). In any case, J. T. explains in an epistle addressed to the “Country-Chapman” (of the sort likely to be peddling the almanac) that its pages are divided into columns, and in the fourth Column they [readers] have a perfect and exact Catalogue of all the Comedies, Trage-Comedies, Tragedies, Pastorals, Masques, and Interludes, that were yet ever printed, or published; wherewith Henry Marsh, at the Princes Arms in Chancery-Lane near Fleet-street, will furnish them for sending and paying for. In which note . . . c .h. [stands for] Comical History.” (sig. A5r )

The titles of these variegated dramatic works are printed in alphabetical order beginning with Arthur Golding’s closet tragedy called Abraham’s Sacrifice (1575), a translation of Theodore Beza’s Abraham sacrifiant (1550). Later on, sandwiched between Christopher Marlowe’s Doctor Faustus (1592) and The Double Marriage (1620) of John Fletcher and Philip Massinger, one finds: “Don-Quixot, or, The Knight of the ill-favoured countenance. c h. [sic]” (sig. B2v ). Still later, in a passel of knights, there is the “Knight of the Ill-favoured countenance, or Don Quixot. c. h.” (sig. B8v ). It would appear that both of these latter references are to a single play no longer extant, conceivably The History of Don Quixote, or the Knight of the Ill-Favoured Face that is advertised in 1658 (cf. Brooke, Nathaniel). Elsewhere in the almanac, assorted silly things are conflated with serious information. In November, for example, All Saints’ Day is celebrated on the

1663

261

first day of the month, “Baker’s dozen” on the 14th, “Goose-Pie” on the 20th, and “Sancho-Pancha” on the 17th (sig. B7v ). 428. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3227. UMI 1797:28

For a reference to Don Quixote and Sancho and an allusion to DQ 1.8, see L3225 (1659); in this edition, the passage is found on pp. 169–70. There is also an advertisement for Nathaniel Brooke’s establishment at the sign of the Angel in Cornhill; in “Books in the Press and now printing,” the ninth in the list is “The History of Donquixot, or the Knight of the ill-favoured face, a Comedy” (sig. T8r ). Regarding this widely advertised work, see Brooke’s “Books Very Lately Printed, and in the Press” (1658). 429. Mackenzie, George, Religio stoici. M195. UMI 696:30 Born in Dundee, Sir George Mackenzie (1636/8–1691), a lawyer who became an advocate (1659), was subsequently elected to Parliament (1669) and appointed Lord Advocate (1677). Though a learned man who founded the library which eventually became the National Library of Scotland, he is now known best for having been a fierce opponent of the Covenanters—for which he was called “Bluidy Mackenzie.” 6 In the passage cited here, under the running head “The Virtuoso, or Stoick,” in a section about the holy scriptures, he refers to Don Quixote’s “chaplain”: I cannot likewise but blame many of our Preachers, who rather break then open holy Texts; and rather make new meanings, suiting with their private designes, then tell the meaning of the Spirit. Who would not have laugh’d to hear a Presbyterian observe, from the first chapter of Genesis, first verse, that whilst Moses relates what God made, he speaks nothing of Bishops; by which it was evident (said Don Quixot’s Chaplain) that Bishops were not of divine Institution: a conceit as ridiculous as that of a Priest, who hearing Maria spoken of for to signifie Seas, did brag that he had found the Virgine Mary named in the old Testament. (p. 77)

Neither Don Quixote’s priest nor Cervantes himself ever made the statement with which they are credited here. Mackenzie appears to be mockingly imitating the preachers he has in mind. Other editions in 1663: M196; M197, UMI 673:6, p. 77. Other editions: M198 (1665), pp. 69–70; M199 (1665), pp. 69–70; The Religious Stoic, M200 (1685), p. 82; The Religious Stoic, M200A (1685), p. 82; The Religious Stoic, M201 (1693), p. 82. 6

Information drawn from “Sir George Mackenzie of Rosehaugh” in the Gazetteer for Scotland: , 13 June 2007.

262

cervantes in seventeenth-century england

430. An entry formerly assigned to this number has been withdrawn. 431. Reynolds, John, The Triumphs of Gods Revenge. R1311. UMI 1129:13 For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of Don-Quixote (Part 1) or The Travels of Persiles and Sigismunda. A Northern History. See STC 20943.3 (1622); in this edition, the passage is found on p. 78. 432. 1662. The Last Years Intelligencer in Burlesq. S3927. UMI 1334:41 (as L535) For the month of June, the anonymous writer satirizes Thomas Bushell (1594– 1674), an eccentric mining entrepreneur and lifelong disciple of Lord Verulam (Sir Francis Bacon). Some time after August, 1636, when Bushell entertained Charles I and Queen Henrietta at his singular home built over a rock in Oxfordshire, he was named “Farmer of his Majesty’s Minerals in the Principality of Wales,” chiefly in Cardiganshire. Subsequently, what he did there . . . some construed to be but the ideas of a fantastical brain. He began with a cheerful heart to cut through five mountains at their lowest level, some of which were 60, some 80, and some 100 fathoms perpendicular. . . . Mr. Bushell continued these works four years, night and day . . . until his charge 7 grew so great that he was pitied by his friends and insulted by his enemies, while his mind became not a little perplexed.8

It seems likely that when the writer of the following passage says that Bushell’s head is full of windmills, he is alluding to Don Quixote’s misadventure in DQ 1.8: Lord Verulams Bushell long out of his Wits, Made now an Agreement with those of the Row-pits, Where through five tall Mountains, he now the sixt cuts; For he makes it nothing to rake in Hells guts, Get Gold out of Flints, squeeze Aire through the Hills By Pipe, and great Bellows, which turn the Wind-mills His head is so full of.

7 8

(p. 5)

Charge: expenses. John Chambers, Biographical Illustrations of Worcestershire (Worcester: Wm. Walcott, 1820), 121–2.

@

1664

#

433. Allestree, Richard, The Gentlemans Calling. A1118. UMI 831:3 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on pp. 141–42. 434. Bold, Henry, Poems Lyrique Macaronique Heroique, &c. B3473. UMI 127:10

A Winchester and Oxford man employed in Chancery, Bold (1627–1683) published a number of volumes in English and Latin. Here, as Knowles notes (nos. 15, 16, 17), in “The Adventure August, 26,” he refers to Don Quixote, Sancho Panza, and Dulcinea. Other Cervantine references are to Ginés de Pasamonte (DQ 1.22), the Yanguesian carriers (DQ 1.15), and Maritornes (introduced in DQ 1.16): Well! Jack drives on amain, a pox forsake him! He made me sweat like grains, to overtake him. I call’d out friend! look here! by Wiecham’s Crosyer,1 Here lies a pretty Girle ith’ lane of Hosyer, Here at a Barbers House; I think it the man, That kept Queen Madasina as his Leman.2 I say (quoth Jack) come on! by Jove! I score her! So never stops, nor staies, till at Pye Corner,3 Where, in he turn’s at house ycleped Castle. For worse, full many a Gyant oft did wrastle Here were the Beeves, the Muttons, and the pigs hot A rare Encounter for man Chegan4 Quixot. (He was a plaguy Mutton-man, vousavez,5 But here’s the Divel and all for the sowes Babyes.) For at this time tis (true, as I do tell ye) You may have pigs, and wenches by the belly. Then strait appears, do but observe the hap, Sir, One Jack call’d Name sake, there concern’d as Tapster, As good a Lad, as ever handled spigget 1

2 3

4

Bold probably harks back here to William Wykeham (c . 1324–1404), Bishop of Winchaster, who founded Winchester College and New College, Oxford. As a bishop, Wykeham would have had and sometimes carried a crosier as a symbol of his office. The name Madásima applies to any one of three women in Amadís de Gaula, no one of whom is a queen who suffers the advances of Master Elisabet as the mad Cardenio claims in DQ 1.24. Pye Corner: in the ward of Faringdon Without, on the corner of Giltspur and Cock Lane, “Pye Corner” was “a place so called of such a signe, sometimes a fayre Inne . . . but now devided into Tenements” (John Stow, A Survay of London [1598], 305). 5 Chegan: Manchegan; from La Mancha. Vousavez: i.e., vous savez, “you know.”

264

cervantes in seventeenth-century england Of powerful Sack and Ale (he’s not for Swigget) To whom our John (knowing no money stirr’d) How doest thou chuck 6 (quoth he) my honey bird? Reply’d he (Capt. Dear) at all adventures We’le wet our selves together. So Jack enters: And trips up staires, as quick, as come penny, 7 Where we find, what’s before good company! Three female idle feaks,8 who long’d for pigs head. (For near this place, there’s many a hundr’d ligs [sic] dead) Three strapping Queans, 9 much like, for hanch and butteress, Toboso’s Dul, Mal, Tornes and Joan Gutterez.10 (pp. 133–4) . . . . . . . . But harder he, then was that Iron-side Who manag’d Corbett,11 while yet liv’d my Grand Sir . . . . . . . . Had made a puny, of Gines Passamont12 (My story, sure may pass, ith’ rank, of woe (p. 140) Yanguesian Carryers!13 ne’re us’d Sancho so.

435. Brome, Alexander, Songs and Other Poems. B4853. UMI 836:30 For a likely allusion in “The New Knight Errant” and a reference to Don Quixote’s watermills, probably referring to DQ 1.20, see Brome’s Songs and Other Poems, B4852 (1661); in this edition, the passages are found on pp. 156– 60, 219–21. 6 7

8 9 10

11 12

13

Chuck: a term of endearment (OED), as in Shakespeare’s “Good bawcock, bate thy rage, use lenity, sweet chuck!” (Henry V, 3.2.25). Come penny: perhaps relating to “Penny Come Quick” (from Cornish Pen-y-cwm-cuick), the name of a village in Cornwall that sprang up after it was realized that the harbor there would be suitable for a major port. An Act of Parliament made this official in 1652, and in 1660 the name of the town was changed to “Falmouth” (James Marius Wilson, The Imperial Gazetteer of England and Wales, vol. 2 [Edinburgh: Fullarton, 1866], 689). Feaks: a feak is a “dirty, sluttish, idle person” (OED). Queans: hussies, harlots, strumpets (OED). “Toboso’s Dul,” truncated though it is, can refer to no one but Don Quixote’s Dulcinea del Toboso. “Mal, Tornes” appears to be a printer’s error for “Maritornes,” a one-eyed, hunchbacked servant at an inn (introduced in DQ 1.16–17). In the dark of night she mistakenly comes to Don Quixote’s bed and is taken by him to be a beautiful princess. “Joan Gutterez” is an English version of “Joana Gutiérez,” one of the names given to Sancho’s wife. Miles Corbet, who signed the death warrant of Charles I (1649) and later became chief baron of the exchequer in Ireland (1655), was executed as a regicide (1662). Ginés de Pasamonte first appears in Don Quixote 1.22, where he proves to be the most noteworthy of the galley-slaves set free by Don Quixote. He even claims to be the author of a (necessarily unfinished) autobiography titled La vida de Ginés de Pasamonte. In the second part of Don Quixote (ch. 26), he turns up in the guise of the puppet-master Maese Pedro—whose little charges are attacked and decimated by Don Quixote. Pausing to rest in a pleasant meadow, Don Quixote, Sancho, and Rocinante are joined by a band of traveling Yanguesian carters (DQ 1.15). When Rocinante unexpectedly proves to be amorously aroused by their herd of mares, the mares vociferously protest, and the carters commence battering not only Rocinante, but also Don Quixote and Sancho.

1664

265

436. Butler, Samuel, Hudibras. The Second Part. B6309. UMI 840:4 As Wilders notes, in Hudibras, 2.1.276 Butler may echo DQ 2.35, wherein Sancho is told by a figure called Merlin that he must give himself 3,300 lashes on his buttocks in order to restore the peerless Dulcinea to her pre-enchantment beauty. Butler writes: [I]f a beating seem so brave, What Glories must a Whipping have? (p. 21)

Wilders further suggests that in 2.1.875 Butler refers to Don Quixote and Dulcinea, again alluding to DQ 2.35. More likely, the allusion is to Don Quixote’s penance in the Sierra Morena (DQ 1.26). In either case, the names in the couplet are explicit: Did not the Great La Mancha do so For the Infanta Del Taboso [sic]? (p. 62)

In 2.2.437–8 (an allusion Wilders appears to have overlooked), Butler returns to the episode in which Merlin enters the scene on a chariot and mournfully declares that Dulcinea, once a great lady but now a country wench, can be metamorphosed again if Sancho will whip himself (DQ 2.35). The most telling lines are: Then wherefore may you not be skip’d, And in your room another whip’d [?]

(p. 99)

Of 2.3.992 ff., Wilders notes: “This and the following lines refer to episodes in the spurious and anonymous Second Part of Hudibras, published in 1663. Butler derived the idea of disclaiming the spurious Second Part from Cervantes, whose hero disclaims the spurious Second Book of Don Quixote in the course of writing the genuine Second Book (Don Quixote, II.lix)” (pp. 401–2); the passage is found on pp. 202 ff. Another edition in 1664: B6310 (UMI 840: 5), pp. 18, 41, 99, 117–18. Another edition: B6310A (1700),196, 226, 250, 318. Also found in Hudibras. The First and Second Parts: B6311 (1674), pp. 238, 272, 300, 380–1 (and another, p. 404); B6311A (1675) (a ghost?); B6312 (1678), pp. 238, 272, 300, 380–1, (and another, p. 404). Also found in Hudibras. The First [and Second] Part: B6303 (1684), pp. 238, 272, 300, 380–1 (and another, p. 404); B6304 (1689), pp. 238, 272, 300, 380–1 (and another, p. 404); B6304a (1694, 1693), pp. 238, 272, 300, 380–1 (and another, p. 404). Also found in Hudibras. The First [and Second and Third] Part: B6305 (1700), pp. 196, 226, 250, 318–19 (and another, p. 339). Also found in Hudibras. In Three Parts: B6319 (1684), pp. 238, 272, 300, 380–1 (and another, p. 404); B6320 (1689), pp. 238, 272, 300, 380–1 (and another, p. 404); B6321 (1694), pp. 238, 272, 300, 380–1 (and another, p. 404); B6321a (1700); B6322 (1700).

266

cervantes in seventeenth-century england

Also found in Hudibras Compleat. In Three Parts: B6322A (1700), pp. 196, 226, 250, 318–19 (and another, p. 39). 437. Dryden, John, The Rival Ladies. A Tragi-Comedy. D2346. UMI 489:21

This earliest entry here from the young Dryden (1631–1700) concerns what appears to be the third of his plays to be produced, a tragicomedy in verse. In putting this work together, it is likely that Dryden used Cervantes’s Las dos doncellas, a story from the Novelas ejemplares—probably James Mabbe’s translation as it appeared in either his Exemplarie Novells (1640) or his Delight in Severall Shapes (1654). The titular damsels, both wronged by the same scumbag rogue, track him to Barcelona, where he finally gives himself to Theodosia and Theodosia’s brother becomes available for Leocadia.14 Other editions: D2347 (1669); D2348 (1675); D2349 (1693). Also found in The Works of Mr. John Dryden: D2207 (1691); D2208 (1693); D2209 (1694); D2210 (1695). Also found in The Dramatick Works: D2211 (1695). 438. Ellis, Clement, The Gentile Sinner: or, England’s Brave Gentleman. E558. UMI 1258:33 For a reference to the popularity of Don Quixote and its influence on the beau monde, see E556 (1660); in this edition, the passage is found on p. 32. 439. Heath, Robert, Paradoxical Assertions and Philosophical Problems. H1341a. UMI 2007:2 For a reference in which Heath says his paradoxical assertions are “Quixotlike,” another reference to a moon-blind lover who sees a world of beauty in Dulcinea’s face, and another to “the high and mighty” Don Quixot’s love for Dulcinea, see H1341(1659); in this edition, the passages are found in part 1, pp. 24, 48, 49–50. 440. Kirkman, Francis, “Epistle” in Jerónimo Fernández’s The Honour of Chivalry: or, The Famous and Delectable History of Don Bellianis of Greece. The Second Part. Translated by Francis Kirkman. K633. UMI 109:6 In his epistle addressed “To the Courteous and Discourteous Reader,” Kirkman says he was in his youth a great lover of books of knighthood, and his friends have lately pressured him to write his continuation of the history of Don Bellianis (see Fig. 18). In the passage at hand he mentions both Don Quixote and Sancho and alludes to various happenings in their story: Don Quixote’s attack on the sheep, followed by the shepherd’s wounding of him in the ribs 14

Further helpful commentary may be found in The Works of John Dryden, ed. John Harrington Smith and Dougald MacMillan (Berkeley and Los Angeles: University of California Press, 1962), 8:264–6, 279.

1664

267

18. One of numerous works in the complex family tree of Amadis de Gaule, Francis Kirkman’s “newly written” Honour of Chivalry (1664) pictures on its woodcut frontispiece the doughty figure of Don Bellianis clad in armor and swinging one of his swords. In the introductory writing that precedes Don Quixote, Pt. 1, this same Bellianis dedicates a sonnet to Don Quixote. His own story—told by Jerónimo Fernández in Historia del magnánimo, valiente e invencible caballero Don Belianís de Grecia (pts. I–IV, 1547–79)— is later criticized by the priest, but nevertheless saved from the famous book-burning in DQ 1.6.

268

cervantes in seventeenth-century england

and his loss of three or four teeth (DQ 1.18); Sancho’s tossing in a blanket (DQ 1.17); and Quixote’s misperception of windmills as giants (DQ 1.8), followed by his mistaking of a barber’s basin for the helmet of the Moorish king Mambrino (DQ 1.21). [My friends’] importunity and my own leisure permitting me, I began it [this work], and whether (happily or not I know not) now finished it. I am sure I shall be censured by many, and some will suppose me to be as wild and extravagant as Don Quixot to renew Knight-errantry, but if he had been Master of so much reason as to have written one, it would have prevented him from exercising that quality, and I believe have returned less to his disadvantage; for he might have saved both his Ribs and Teeth, and his Squire Sancho Panca would neither have been blanketted nor cudgelled: without doubt had he been possessed of so much brains as to have written one, he would then have known that there was more of fancy then truth, and by consequence not have exposed himself to those many hazardous adventures which he undertook, and not have taken Windmils for Giants, Flocks of Sheep for Armies, and a Barbers Bason for the Golden Helmet of Mambrino. I know he intended to have begun that adventure, which I have now finished, as the Author of his History in the first Chapter of his first Book learnedly writes, but he was hindred by his extravagant madness. That which he attempted and was some years in atcheiving [sic], I have now written in a few days; for in the invention and writing I spent not a full week. They that will bestow the pains in reading of it, will finde somewhat of recreation, I am sure the Story in the first Part is well enough continued in this Second, and all the adventures that are promised there, are prosecuted here. Many people love Romances, but some are grown so squeamish, that there must be nothing of improbability, neither Giant nor Enchantment, because there is none in our age. To whom I answer, That this History is not of people of our time, but of many ages past, and we know that sacred Writ mentions both and Poetry allows of them. . . . This is no translation but fancy: we have many pleasant and ingenious Romances in the English tongue, but we are obliged to other nations for their invention of them: very few have been written originally in English, and onely Sir Philip Sidneys Arcadia hath had the success to be not onely approved of in our own language, but rendred into French and other languages. (sig. A3v –4r )

Other editions: K633A (1671), UMI 1311: 9 (parts 1 and 2), a different epistle; K633B (1671), UMI 1796: 2 (part 2 only), yet another epistle. 441. La Serre, Jean Puget de, The Mirrour Which Flatters Not. Transcrib’d English from the French, by T. C. L458a. UMI 1703:20 For a reference to Sancho Panza as one to be laughed at, see STC 29489 (1639); in this edition, the passage is found on sig. A10r . 442. Newcastle, Margaret Cavendish, CCXI Sociable Letters. N872. UMI 1553:10 Styled Marchioness of Newcastle when this collection was published (and later Duchess of Newcastle), Margaret Lucas Cavendish (1624?–1674) says in

1664

269

a dedicatory epistle to her husband, William Cavendish, that she is ignorant of needlework, spinning, preserving, and baking, as well as gaming, dancing, and reveling. But her pen was seldom idle. Here, in a preface addressed to her readers, she writes: As for the Present book of Letters, I know not as yet what Aspersion they [carping critics] will lay upon it, but I fear they’l [sic] say, they are not written in a Modestyle, that is, in a Complementing, and Romantical way, with High Words, and Mystical Expressions, as most of our Modern Letter-writers use to do; But Noble Readers, I do not intend to Present you here with Long Complements in Short Letters, but with Short Descriptions in Long Letters; the truth is, they are rather Scenes than Letters, for I have Endeavoured under the Cover of Letters to Express the Humors of Mankind, and the Actions of Man’s Life. (sig. c2r–v )

In letter No. 200, addressed to “Dear Sister Pye,” (that is, her sister Catherine, wife of Sir Edmund Pye of London), she recalls her “Fearful Love” for her sister when they were young. This in return reminds her of something her sister used to say to her regarding Sancho Panza’s doctor. Cervantes names the latter Pedro Recio de Agüero,15 which nicely reflects the fact that the mission of this stern watchdog physician is to restrict Sancho’s diet beyond all reasonable limits (DQ 2.47). I remember I have oftentimes Waked you out of your Sleep, when you did Sleep Quietly, with Soft Breathing, fearing you had been Dead . . . and as Troublesome I was to you concerning your Feeding, as I was in your Sleeping, so I was Afraid that that which was to Nourish you, should Kill you, and I remember, I was so doubtful of every Meat you did eat, as you were used to tell me, I was Sancapancha’s Doctor. (p. 423)

443. Overbury, Thomas, Thomas Overburie His Wife. O611. UMI 1210:35

For a reference to Don Quixote’s fulling mills, an allusion to DQ 1.20, see STC 18908 (1615); in this edition, the passage is found in “A Roaring Boy” on sig. M1v . Another edition in 1664: Sir Thomas Overbury His Wife. The Seventeenth Impression. O611A (UMI 1023:14), sig. M1v . 444. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3442a. UMI 1938:1 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on pp. 349–50. Another edition in 1664: P3443 (UMI 848:2), same pagination. 15

Recio: harsh; Agüero: sign or omen. Recio and Agüero are translated thus by Burton Raffel, who also points out that the doctor’s place of origin, Tirteafuera, may be rendered as “get the hell out” (Cervantes, Don Quixote, trans. Raffel, 603).

270

cervantes in seventeenth-century england

445. Randolph, Thomas, Poems. R244. UMI 774:8a For a reference to the fame of Don Quixote the Knight Errant and an allusion to Dulcinea in The Conceited Pedlar, see STC 20686 (1630); in this edition, the passage is found on p. 335. 446. Waller, Edmund, Poems, &c. W514. UMI 1079:6 For a reference to DQ 1.8 in “To the Mutable Fair,” see W511 (1645); in this edition, the passage is found on p. 128. 447. Wilson, John, The Cheats. A Comedy. The Fourth Edition. W2916. UMI 970:9

A poet, playwright, and lawyer (with a fourteen-year career in Ireland as the latter), Wilson (1626–1695?), was the son of a chaplain to Charles I. He became a barrister (Lincoln’s Inn, 1649) and recorder of Londonderry (c.1681), but is best known now as the writer of a handful of plays, including The Cheats. In an address to the reader here, Wilson alludes to the burning of Don Quixote’s library (DQ 1.5–6) and, noting the variety of responses elicited by his play, he claims: All that I take notice of, is this, How justly it may have deserv’d all that has been said upon’t; unless People would have it dealt with like Don Quixot’s Library, some burnt for the Curate’s sake, other for the Barber’s, and not the least for the Good Womans. (sig. A2r )

In 3.1, in a section satirizing the language of Rosicrucians, Wilson has Mopus say he was once of a mind to give the world a work on Coschinomancy (i.e. divination with a sieve), but, he adds: “Since that, the World, and I, have been better acquainted, and I find it base, and unworthy.” To which Jolly responds by calling the Rosicrucian philosophy “Quixotism”: Such a Quixotism in Phylosophy, must needs please every man.

(sig. F1r )

Other editions: W2917 (1671), sigs. A2r , F1r ; W2918 (1684), sigs. A2r , E1r ; W2918A (1692), sigs. A2r , E1r ; W2919 (1693), sigs. A2r , D4v ; W2920 (1693), sigs. A2r , D4v . 448. Winstanley, William, Poor Robin, 1664. An Almanack after a New Fashion. A2183. UMI 1517:25 A poet, biographer, and writer of almanacs, Winstanley (1628?–1698) claimed in 1683 that he had by then written “above sevenscore books.”16 These included a collection of biographies called The Loyall Martyrology (1665) and another called Lives of the Most Famous English Poets (1687). Winstanley’s most memorable cultural contribution, however, was a parodic and traditional series of almanacs that were supposedly set forth by a writer known as “Poor Robin.” 16

William E. Burns, Oxford DNB, 59: 774–5.

1664

271

In the specimen at hand, under “Observations for February,” “Don Quixot” is celebrated on 21 February. (sig. A6r ) Other editions: A2184 (1665), sig. A5r (+Sancho, A6r ); A2185 (1666), sig. r A5 (+Sancho, A6r ); A2186 (1667), sig. A5r (+Sancho, A6r ); A2187 (1668), sig. A5r (+Sancho, A6r ); A2188 (1669), sig. A5r (+Sancho, A6r ) (and others); A2189 (1670), sig. [A5r ] (+Sancho, [A6r ]); A2190 (1671), sig. A5r (+Sancho, A6r ) (and another); A2191 (1672), sig. A5r (+Sancho, A6r ); A2192 (1673), sig. A4v (+Sancho, A5v ); A2193 (1674), sig. A5r (+Sancho, A6r ) (and another); A2194 (1675), sig. A5r (+Sancho, A6r ) (and others); A2195 (1676), sig. A5r (+Sancho, A6r ); A2196 (1677), sig. A5r (+Sancho, A6r ) (and others); A2197 (1678), sig. A5r ; A2198 (1679), different references (+Sancho, sig. A6r , and another on sig. C6v ); A2199 (1680), sig. A5r (and another); A2200 (1681), a different reference, sig. C7r–v ; A2201 (1682), sig. A5r (and another); A2202 (1683), no references; A2203 (1684), sig. A5r ; A2204 (1685), sig. A5r ; A2205 (1686), sig. A5r ; A2206 (1687), a different reference, sig. C6r ; A2207 (1688), sig. A5r (+Sancho, A6r ); A2208 (1689) no Don Quixot (Sancho, sig. A6r ); A2209 (1690), no Don Quixot (Sancho, sig. A6r ); A2210 (1691), no references; A2211 (1692), no references; A2212 (1693), no references; A2213 (1694), no Don Quixot (Sancho, sig. A6r ); A2214 (1695), a different reference, sig. C4r ; A2215 (1696), no references; A2216 (1697), no references; A2217 (1698), no references; A2218 (1699), no references; A2219 (1700), no references; A2219aA (1700), sig. B2v .

@

1665

#

449. Cleveland, John, Poems. With Additions, Never Before Printed. C4697. UMI 1438:6

For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 39. For a reference to Don Quixote in “The Publique Faith,” sometimes attributed to Cleveland, see Richard Fletcher’s Ex otio negotium: or, Martiall His Epigrams Translated. With Sundry Poems and Fancies, M831 (1656), where it was first published; in this edition, the passage is found on p. 90. The poem was also reprinted in Alexander Brome’s Rump, B4851 (1662), q.v. For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on pp. 180–90. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on pp. 190–7. 450. Crooke, Andrew, “Catalogue” in William Clark’s Decimarum & oblationum tabula. UMI 980:6 (as C6844) Following Clark’s “Preface,” there is a section headed: “Reader, these Books following are Printed for, and sold by Andrew Crooke at the Green Dragon in St. Pauls Church-Yard, 1662.” Under the heading “Books in Folio,” sandwiched between Ben Jonson’s works in two volumes and John Harington’s translation of Orlando Furioso, we find: “The History of Donquixote” (sig. A3r ). 451. Flecknoe, Richard, Sixtynine Enigmatical Characters. F1236. UMI 276:15

For a reference to Don Quixote’s love for Dulcinea, see “Character of a Novice” in STC F1223 (1658); in this edition, the passage is found on p. 52. 452. Flecknoe, Richard, A True and Faithful Account of What Was Observed in Ten Years Travells. F1238. UMI 1123:24 For references to Don Quixote, Dulcinea, and Sancho Panza, and an allusion to DQ 1.7 in a letter to Mademoiselle de Beauvais, see A Relation of Ten Years Travels, F1232 (1655); in this edition, the passage is found on pp. 23–4. 453. Heylyn, Peter, Cosmographie. H1690a For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona (DQ 1.29 et seq.) and to Sancho

1665

273

Panza’s island of Barataria (DQ 2.45 et seq.), see H1689 (1652); in this edition, the passage is found on pp. 1094–95 (sig. Hhhhh5v –6r ). 454. Kemp, W., A Brief Treatise of the Nature, Causes, Signes, Preservation from, and Cure of the Pestilence. K260. UMI 386:22 W. Kemp, M.A. (not to be confused with Will Kemp, the popular comic actor of Elizabethan days), writes positively here of Cervantes in a passage about cures for the pestilence. He calls to mind the episode in Don Quixote where Sancho Panza, newly instated as governor of Barataria, sits down to dine. Dish after dish that is set before him is whisked away at the command of Dr. Pedro Recio de Agüero, who presumably has been engaged to look after the health of the governor of the island (DQ 2.47). Kemp writes that some people say: One thing is too dry, another too cold, this hurts the Stomach, and that the Bladder, every thing must be condemn’d, but what themselves extol. Cervantes (in his time, the wit of Spain) derides in the person of Don Pedro Rezio Physitian to Sancho Panca, such find-fault Philosophers, that will say that Broth ingenders Rheume, and Mutton is Cholerick, that Brawn1 breeds viscous Humours, and Lamb is hard of digestion, that Veal turns into waterish, and Beef into gross blood, that Pork is flegmatick, and Venison melancholy, and Partridge most dangerous to eat, for fear of surfetting. (p. 84)

455. Mackenzie, George, Religio stoici. M198. UMI 641:7 For a spurious opinion attributed to Don Quixote’s chaplain, see M195 (1663); in this edition, the passage is found on pp. 69–70. Another edition in 1665: M199 (UMI 641: 8), same pagination. 456. Quæries: or, A Dish of Pickled-Herring Shread, Cut and Prepared According to the Dutch Fashion. Q171. UMI 2039:4 These satirical quæries are sixty-three questions intended “for the squeamish Consciences of the English Phanaticks who pray for the New-building of their Old Babell.” According to the title page, the tract was originally “printed at Amsterdam for the High and Mighty States of Holland, and re-printed at London.” In question no. 17, there is a reference to Don Quixote and the galley slaves (DQ 1.22): XVII. Whether to shake off Allegiance (as they [the Netherlanders] did from their lawfull Soveraign the King of Spain) for Christian-liberty, was not Don Quixots Argument to turn loose the Gally-Slaves, because God and Nature had made them free? (p. 2)

457. TheRouting of De-Ruyter: or, The Barbadoes Bravery. By the Author of the Broad-side. R2053. UMI 1315:3 In April of 1665, during what is now considered the Second Dutch War (1664– 7), the attack of Admiral Micheil Adriaanszoon de Ruyter on Barbados was 1

Brawn: flesh of a hog, especially a boar.

274

cervantes in seventeenth-century england

readily repulsed, and when his fleet left the Caribbean, the English were able to mount a strong offensive. Though De Ruyter is nowadays considered to have been a great sea commander,2 the anonymous author of this broadside compares him to Don Quixote: Long look’t for, thou hast hal’d many a Rope, Fraught with thy Countries Poor distressed hope. Thy Fleet is taking Castles in the Air, Whilst they at home are drown’d, drown’d in despair. . . . . . . . . Thou now hast Alexanders Portion, hope And if that fails, thy Ship affords a Rope. But stay, hold fast mine Here3 were’t not a Ninny, To hazard seven brave Provinces for Guynny. 4 Thus Æsops Dog, and say was he not mad ho, Lost a substantial shoulder for a shadow. Thus Dutch Don Quixot, tumbles up and down, To take more Countries in, and lose his own.

458. A Relation of Sir Thomas Roe’s Voyage into the East-Indies. V47. UMI 521:4

This anonymous Relation is said to have been “penn’d by one that attended Sir Thomas Roe in his Embassy to the Great Mogul” (sig. A4r )—that is, Jahángir. It was published as a companionate element in a volume that opens with The Travels of Sig. Pietro della Valle . . . into East-India and Arabia Deserta (a translation of Della Valle’s Viaggi . . . cioè la Turchia, la Persia, e l’India), and the volume as a whole was translated by George Havers and dedicated to Roger Boyle, first Earl of Orrery. Roe (1581–1644), a gentleman of the privy chamber to James I and a lifelong friend to James’s daughter Elizabeth, proved to be an outstanding servant to English sovereigns for over forty years. It was early in his career, however, that he became England’s first ambassador to Mughal India (1615–19). Preceding him there were the Portuguese, and the anonymous narrator of this Relation came to associate one of the latter with Don Quixote. In Surat, he reports the English travelers encountered a most valiant Portugal (if you will give him leave to tell his own story, and believe it when he hath done) who first for his person was a . . . very poor, little dwarfish man, whose person promised as little valour as any that I ever saw, though I know that high courage is not tyed to an huge hulk, for (if stories abuse us not) Alexander the Great was but a little man; but what ever Alexander was, I am sure, 2

3 4

G. E. Aylmer, “Navy, State, Trade, and Empire,” in The Origins of Empire, ed. Nicholas Canny, vol. 1 of The Oxford History of the British Empire, ed. W. R. Louis (New York: Oxford University Press, 1998), 467–80. Mine Here: Dutch mijnheer, i.e., “sir.” Guynny: Guinea, a significant part of the western coast of Africa.

1665

275

that this was a poor little thing; but however he told us, that he was by birth an Hidalgo, which signifies in Spanish the Son of some body, or no ordinary man, but a Gentleman of Spain, and that he came from thence as a Companion to the King of Spains Viceroy, sent to Goa, and himself called the Knight with the golden Rapier. (p. 389)

In fact, the Knight of the Golden Rapier proceeded to relate that in single, honorable combat he had fought and killed three valiant adversaries. The writer reports on these, then proceeds: When this Rhadomantadist5 had ended his perillous story, it was dinner time, and the Merchants bid him to sit down with us and eat, and so he did, where certainly he laid about him more valiantly than ever he had done before in the field, giving our meat many a cut, and eating, as if he had been more than half starved. He continued with us there for some few days, and after, when his hunger was well satisfied, and his spirits well refreshed, he began to take some exception against his place at the Table, because he eat at the lower end thereof, saying, that the company there were but Factors, Servants, but he was a Gentleman, and therefore his due place was higher at the board, but then corrected himself, saying, that it was not to be much considered where he sate, for his place made the upper end of the Table where ever he was placed: and suddenly after, this Don Quixot being weary of his stay with us (though he was but too well used) and having a great mind to ramble further, told our Company, that he being an Hidalgo, it was very dishonourable for him to take entertainment upon the terms he had it; and therefore desired us to make a little Purse for him, on which he would live as long as he could, and then creep into some Desert place, and there repent and dye. And now our great Ghest, having spent all his humour, and told us all his Dream, had his desire granted in some money that was given to him; and so we parted with our Knight Errant. (p. 390)

Other editions in 1665: V48 (UMI 619: 2), same pagination; V48A (UMI 91: 17), same pagination. 459. S., G., Aut Helmont, aut asinus: or, St. George Untrust. Being a Full Answer to His Smart Scourge. S23. UMI 2040:24 George Starkey (1628–1665), attacked here by a “G. S.,” is a figure of some interest: born in Bermuda, he eventually entered Harvard College (A.B., 1646; A.M., 1649), took up alchemy and briefly practiced medicine in the Boston area, moved to London (1650), created perfumes at St. James’s Palace, was supported by Robert Boyle in the making of pharmaceuticals, was imprisoned for debt, moved to Bristol, and eventually became known widely (along with his fictive friend Eirenaeus Philalethes) for his studies and writings on chemical phenomena. 6 5 6

Rhadomantadist: a variation on rodomontade, from Rodomante, a braggart in Boiardo’s Orlando innamorato (1495). This headnote is based entirely on the Starkey article by William Newman in the Oxford DNB, 52:295–8.

276

cervantes in seventeenth-century england

When the success of his so-called “Starkey’s pill” was threatened by one Lionel Lockyer (d. 1672), Starkey attacked Lockyer in his Brief Examination and Censure (1664), which was in turn attacked by one “G. S.” Starkey responded again in A Smart Scourge (1664), which in turn was answered by “PhiloChemicus” in the work at hand—Aut Helmont, aut asinus. Here the author accuses Starkey of having a spurious medical degree, of being a heavy drinker, and of resembling Don Quixote: I had a little considered his Pamphlet. . . . But all this is not enough, I must needs be acquainted with the smart scourger himself to[o], who subscribeth himself G.S. the same with his Antagonist; which at first glance made me imagine him some furious Don Quixot marching out with indignation to fight with his own shadow. (p. 4)

460. Scarron, Paul, Scarron’s Novels: viz., The Judge in His Own Cause. The Rival-Brothers. The Invisible Mistress. The Chastisement of Avarice. Rendered into English by John Davies of Kidwelly. S833B. UMI 2133:12

Paul Scarron (1610–1660) was a versatile French playwright and writer of fiction. In the preface of this collection of four of the prolific Scarron’s novels, the translator Davies (1625–1693) writes: The three former of these Novels [i.e., The Judge in His Own Cause, The Rival Brothers, and The Invisible Mistress] were printed here some four or five years since, and so well receiv’d, that the scarcity of them soon call’d upon the Bookseller for a second Impression. This kind entertainment thereof put me upon an enquiry, what there might be more, of the same kind, written by the same Author, and I have made a shift to pick up four. (sig. A1r–v )

Davies goes on to say that he picked up the newly printed Le roman comique, or The Comical Romance, “a description of the Lives of certain Country-Comedians, and other people, of several Conditions” (sig. A1v ). “Out of this Romance . . . I have taken three of the Newly-printed Novels” (sig. A2r ). In The Invisible Mistress, Don Carlos of Aragon is kidnapped and taken to a place unknown to him and left alone. In an aside, the omniscient narrator opines: Imagine then how much our cajoll’d Lover was astonish’d to find himself in so sumptuous an appartment, attended onely by two Gentlewomen mask’d, who spoke not at all, and conducted him thence into another room, more nobly furnish’d than the Hall, where they left him all alone. Had he been of the humour of Don Quixot, he would have been transported into some extravagance befitting so great an Adventurer, and he would have conceited himself at least Esplandian or Amadis; 7 but our grave Spaniard was no more troubled at it, than if he had been in some Inn, or Country-house of his own. (p. 107) 7

Esplandián, the son of Amadís de Gaula, was the hero of Garci Rodríguez de Montalvo’s Las sergas de Esplandián (1510), anonymously translated in 1598.

1665

277

Another edition in 1665: S833A (UMI 2097:5), the title page calls for The Invisible Mistress, but UMI’s filmed edition is incomplete. Other editions: S834 (1667), p. 285; S8334B (1683), p. 277; S835 (1694), pp. 277–8; S836 (1700), pp. 349–50. 461. Stevenson, Matthew, Poems. S5507. UMI 298:18 A poet closely associated with Norfolk (his last book was titled Norfolk Drollery), Stevenson (d. 1684) dedicated his 1665 Poems to Edward Somerset, Marquess of Worcester. Here, in “Upon a City Captain in Eutopia, Arresting a Bookseller for Beating Him,” Stevenson refers to Don Quixote’s combat with a windmill (DQ 1.8): In brief, the Puppet is scarce fit to be One of the Life-Guard to a Cherry-tree. And therefore, lest there a Don Quixot want,8 The Windmils take thee for their Combatant. Yet, if thou shouldst the Wind would blow thee down, And take advantage of thy copple-crown. 9

(p. 131)

Not found in: Norfolk Drollery, S5503 (1673); Poems: or, A Miscellany, S5508 (1673). 462. Wilson, John, The Projectors. A Comedy. W2923. UMI 1110:19 Wilson (1627–1696), a lawyer, is now best known as the writer of four plays. In The Projectors, a comedy set in London, he satirizes scheming financial speculators. The opening scene has Jocose, a courtier, after a long stint of being honest, declaring his resolution to “feed the humours of fools” (p. 5). It is likely that the playwright and Jocose both have Don Quixote in mind when he goes on to say that as long as fools are prone to “set up windmills in their heads,” he will be glad to “contribute . . . [his] assistance to cut out the sailes.”10 Later in 4.1, a manservant named Driver approaches a miserly usurer named Suckdry with a scheme to manufacture a wooden horse with German clockwork that will be a marvel of economy. Compared with this horse, horses famous in literature and history will be but slight things, including Don Quixote’s Rocinante, at the head of the list, and Sancho’s ass, which concludes it: Dri. Why ’tis a Wooden-Horse, so contriv’d with Screws and devices, that he shall out-travel a Dromedary, carry the burden of fifteen Camels, run you a thousand mile without drawing bit, and which is more then all this; not cost you two pence a year the keeping. 8 9 10

Want: lack. Copple-crown: an obsolete term for the “tuft of feathers on a fowl’s head; a crest” (OED). The latter word, referring to both selling and the arms or wings of the mills, is especially appropriate insofar as the wings of some mills consisted of canvas stretched on wooden frames.

278

cervantes in seventeenth-century england

19. In this night scene from John Stevens’s History of the Most Ingenious Knight Don Quixote de La Mancha (1700) the prankster minions of the Duke and Duchess succeed in making the blindfolded Don Quixote and Sancho Panza believe they are flying high in the sky aback the wooden horse Clavileño (DQ 2.41). Don Quixote declares “I never rode an easier pac’d Horse,” and Sancho, clasping his arms around the knight, exclaims that “the Wind lies as hard upon me . . . as if a thousand pair of Bellows were blowing me” (facing 2.234).

1665

279

Suck. Ha, Ha, He—y’faith—y’faith! prythee on,—Is there no difficulty in the work? Dri. The greatest, will be to set him a going: But I think I have sufficientlie provided for that:—I’ll tell you how I have order’d it:—Turn one Pin, he shall Trot, another Amble, a third, Gallop; a fourth, Flie; And all this perform’d by Germane Clock-Work:—Don Quixotes Rosinante, was an Asse; Reynaldo’s Bayart, a meer Slugge, and Cavellino the swift, a very Cow to him;—I might mention Alexander[’s] Beucephalus, the Cid’s Bajeca, the Moores Zebra, Rogero’s Frontino, Astolpho’s Hippogryphon, Orlando’s Briliadoro, The Muses Pegase, the Suns Horses, and Zancho’s Dapple,—But they are not to be nam’d the same day together. (pp. 41–2)

This jocular stampede consists entirely of steeds mentioned in Don Quixote (see Fig. 19). Besides Rocinante and Sancho’s ass, here are: Renaldo’s magic Bayard from Boiardo’s Orlando innamorato and Ariosto’s Orlando furioso (DQ 1.52, 2.40); Clavileño, the wooden horse that Don Quixote and Sancho ride blindfolded (DQ 2.40–1); Alexander the Great’s Bucephalus (DQ 2.40); Babieca, the horse of the Cid in the medieval Poema de mío Cid (DQ 1.49); the zebra or huge stallion of the Moor Muzaraque, as recalled by the priest (DQ 1.29); Frontino, a hippogriff ridden by Rogero in Orlando furioso (DQ 1.25, 2.40); King Astolfo’s hippogriff, stolen from Rogero (DQ 1.25); Orlando’s Brigliadoro in Orlando innamorato (DQ 2.40); Pegasus, a stamp of whose foot created the muses’ fountain, Hippocrene (DQ 1.29, 2.40); and the horses that pull Apollo’s chariot across the sky (DQ 2.38). 463. Winstanley, William, Poor Robin, 1665. An Almanack after a New Fashion. A2184. UMI 1517:26 Under “Observations for January”: “Don Quixot” is celebrated on 9 January (sig. A5r ), and under “Observations for February”: “Sancho Panca” is celebrated on the 26th (sig. A6r ).

@

1666

#

464. Heylyn, Peter, Cosmographie. H1691. UMI 566:2 For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona, an allusion to DQ 1.29 et seq., and to Sancho Panza’s island of Barataria, an allusion to DQ 2.45 et seq., see H1689 (1652); in this edition, the passage is found on pp. 1094–5 (sig. Aaaaa3v –4r ). 465. Winstanley, William, Poor Robin’s Character of France. P2878. UMI 847:13

Using his frequent pseudonym of Poor Robin (which he tried initially in an almanac of 1662), Winstanley here depicts an Englishman and his friend who have a great desire to see France. In describing the post-horses they hire, Poor Robin refers to Don Quixote’s Rocinante: [W]e took Post-horse . . . but might as good have been mounted on a Post, as on such jades; as lean they were as Envy is by the Poets feigned to be. . . . They were very easie to be mounted, and there was no great fear of melting them by over-riding, surely Don Quixot’s Rozinante was a horse of State to either of these. (p. 10)

In a passage devoted to the “middle sort of women, or such as live in Cities and great Towns,” there is another reference to Don Quixote: [O]f these sort of women there is much difference from the Peasants; but in what? surely nothing but in attire, otherwise Nature hath not been over prodigal to them for beauty, so that Don Quixot did not so deservedly assume to himself the title of The Knight of the ill favoured face, as they may that of the Damosels of it. (p. 17)

466. Winstanley, William, Poor Robin, 1666. An Almanack after a New Fashion. A2185. UMI 1803:18 Under the heading “Observations on January,” “Don Quixot” is celebrated on 31 January (sig. A5r ), and under the heading “Observations on February,” “Sancho Pancha” is celebrated on 3 February (sig. A6r ). In the diagram for “The Astrological Scheme for the Year 1666,” “Sancho Pancha” is featured in the eighth house. Some of the others featured in the scheme are Sir John Falstaff, Dr. Faustus, and Long Meg.1 (sig. C6r )

1

Long Meg: whether or not a real woman, Long Meg was well known to writers of the 1590s and continued to be remembered many years later as the extremely tall, boisterous, valiant, and goodhearted heroine in The Life of Long Meg of Westminster (1620 et seq.).

@

1667

#

467. Allestree, Richard, The Gentlemans Calling. A1119. UMI 831:4 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. Another edition in 1667: A1119a, same pagination. 468. Flecknoe, Richard, The Damoiselles a la Mode. F1211. UMI 67:24 The versatile Flecknoe (who has been included here previously for his prose Travels and his verse) dedicated this comedy to the Duke and Duchess of Newcastle, that is, William and Margaret Cavendish. The play was licensed on 15 May 1667 by Roger L’Estrange, having been “compos’d and written” by Flecknoe though admittedly “taken out of several Excellent Pieces of Moliere” (preface, sig. A3r ). Set in Paris, it offers such characters as Monsieur Du Buisson and Monsieur Le Fleur, suitors to the “damoiselles” of the title. In the seventh scene of the second act, where these gentlemen share their perception that they have been treated scurvily by the ladies, Monsieur Du Buisson refers to Don Quixote: Why I have observed your Damoiselles of Paris here, and almost all France over, are grown of late as mad with reading your modern Romances, as Don Quixot was with reading your ancient Books of Chivalry; and look that all who visits them shou’d be as mad and Romansick as themselves; and ’cause we were not so, they slighted us. (p. 23)

469. Heylyn, Peter, Cosmographie. H1691a For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona, an allusion to DQ 1.29 et seq., and to Sancho Panza’s island of Barataria, an allusion to DQ 2.45 et seq., see H1689 (1652). 470. Pepys, Samuel, Diary The famous diary of Samuel Pepys (1633–1703) remained at Magdalene College, Cambridge, in Pepys’s own private shorthand until 1825, at which time it was decoded by John Smith. In his entry for 29 November 1667, Pepys refers to Don Quixote. Pepys and his wife were awakened that morning by a noise which sounded as if there were unauthorized people in the house, but upon investigation it turned out that the noise was made by chimney sweeps in a neighbor’s house. This may have reminded Pepys of an incident in DQ 1.20, where Don Quixote and Sancho hear a worrisome noise that at first they misinterpret. Pepys writes:

282

cervantes in seventeenth-century england

Waked about 7 a-clock this morning with a noise I supposed I heard near our chamber, of knocking, which by and by increased, and I more awake, could distinguish it better. I then waked my wife and both of us wondered at it, and lay so a great while. . . . It is one of the most extraordinary accidents in my life, and gives ground to think of Don Quixot’s adventures how people may be surprized.

In a gloss for this passage, Robert Latham and William Matthews note that “Pepys . . . retained two copies of Don Quixote, one (Brussels) in Spanish and the other in English.” 1 471. Rookes, Thomas, The Late Conflagration. R1917B. UMI 2317:13 Thomas Rookes was the last in a long series of occupants of a London bookshop located south of St. Paul’s School and called the Lamb (for a while the Holy Lamb).2 He began operating there in 1658, but was burned out by the Great Fire of London in September of 1666. In the following year, he nevertheless produced a book catalogue that he introduced thus: The late conflagration consumed my own, together with the Stock of Books (as it were) of the Company of Stationers, London: since that lamentable disaster, next my own loss; this doth trouble me, that when any of those few Ingenious Persons who desire books inquire after them, they are often answered by such as have them not, That they are all burnt, which discourageth any further enquiry, not only to the learned, but even of Country Chapmen, wherefore to let all men know notwithstanding the late dreadful Calamity, that there are Books yet to be had, And for the conveniencey of the Ingenious Buyers, I publish this ensuing Catalogue. For the Litteral faults of the Printer to Book-Buyers, I need not make any Apology, but for my self, that I did only name the Books, and not more largely deliver their several Titles and Subjects, that would have swell’d the Catalogue: To supply which if any that desire to be acquainted with the particulers, upon repairing or sending to me, may have full satisfaction from the Books themselves, if they send before they are sold. (sig. A1r )

Obviously a survivor, Rookes follows this headnote with the necessary information that he is currently working at two sites, either “From my Shop in Gresham-College, next the Stairs, or Warehouse in Moore-Fields against the Cardinals-Cap.” The catalogue itself follows immediately on the same page. Under its second heading, “Books in Small Folio,” Rookes includes two items relating to Cervantes. The first is simply “Don Quixot” (sig. A2r ), an entry which, as he has warned, is listed without any indication of what edition it might be. The second, however, is immediately identifiable: “Notes on Don Quixot” (sig. B1r ) is Edmund Gayton’s high-spirited Pleasant Notes upon Don Quixot (1654). 1 2

Latham and Matthews, eds., The Diary of Samuel Pepys, vol. 8 of 11 vols. (Berkeley and Los Angeles: University of California Press, 1970–83), 553. Peter W. M. Blayney, The Bookshops in Paul’s Cross Churchyard (London: The Bibliographical Society, 1990), 57–8.

1667

283

In a note from the publisher to the reader at the end of his catalogue, Rookes assures potential book buyers that the list does not include all the books in his stock, for “many have come to my hand since it was printing, and more do daily, as I can hear of them”; moreover, he offers to buy any parcels with which sellers are willing to part. He also gives notice that he continues to “make and sell the best Ink for Records . . . which hath for many years been approved. But since my removal by the late fire, several persons have mistaken my Shop, and gone to some neighbour pretender; to their great disappointment, and my damage” (sig. ††††2v ). 472. Scarron, Paul, Scarron’s Novels. S834. UMI 2058:3 For a reference to Don Quixote’s extravagant humor and his being a great adventurer, see The Invisible Mistress in S833B (1665); in this edition, the passage is found on p. 285. 473. Trench, David, Catologus [sic] librorum venalium. T2108b. UMI 2628:11

A bookseller with a shop in Edinburgh, Trench (fl. 1662–71; d. 1671) in this catalogue, under the heading “History Books, Poems, Romances, &c.,” under the letter N writes: “Notes on Don Quixot, Fol.” (p. 21). The reference is, of course, to Edmund Gayton’s Pleasant Notes (1654). 474. Wells, Jeremiah, Poems upon Divers Occasions. W1290. UMI 480:19 One of the poems in this collection by Wells (1646?–1679) is called “A Journey from Oxford to London, Begun Apr.23.1666. being St George’s Day.” It concerns the day “Englands Generall set out | To give the Dutch a second rout.” The writer refers to George Monck, Duke of Albemarle (1608–1670), who was then deeply involved in the Second Anglo-Dutch War (1666–7). In late April of 1666, some minor good news was that the Amity had “taken a Dutch prize called the Hope of Flushing,” but overall the English did not fare well.3 In describing the attire of some hastily assembled soldiers, Wells writes: So was bold Quixot with his Squire accouter’d, When the’assail’d Windmil threw him in a Cow-turd. (p. 79; sig. F8r )

The cow-turd is, of course, Wells’s own embellishment of the Spanish knight’s encounter with a windmill. Later, while on their journey, the soldiers espy in the distance a strange object resembling Rocinante or Dapple: Nor Horse, nor Asse, nor Mule, but all; ’tmight passe For Quixot’s Rozinant, and Sancho’s Asse. 3

J. R. Powell and E. K. Timings, eds., The Rupert and Monck Letter Book 1666 (London: Navy Records Society, 1969), 26.

284

cervantes in seventeenth-century england His thredbare sides could well endure the spur, Nay run him thorow and he would not stir. Grown staid with age he scorn’d the giddy race, But kept a grave Majestick Spaniard’s pace. (p. 89; sig. G4v )

475. Winstanley, William, Poor Robin. 1667. An Almanack after a New Fashion. A2186. UMI 1517:27 Under “Observations on January,” “Don Quixot” is celebrated on 2 January (sig. A5r ), and under “Observations on February,” “Sancho Panca” is celebrated on 28 February (sig. A6r ).

@

1668

#

476. Allestree, Richard, The Gentlemans Calling. A1120. UMI 1245:10 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. Another edition in 1668: A1120A, p. 134. 477. Brome, Alexander, Songs and Other Poems. B4854. UMI 1089:1 For a likely allusion in “The New Knight Errant” and a reference to Don Quixote’s fulling mills (DQ 1.20), see Brome’s Songs and Other Poems, B4852 (1661); in this edition, the passages are found on pp. 143–6, 200–1. 478. Dryden, John, A Defence of an Essay of Dramatique Poesie, Being an Answer to the Preface of The Great Favourite, or the Duke of Lerma in The Indian Emperour. The Second Edition. D2289.1 Dryden’s defense of his Essay of Dramatique Poesie (1668) is a response to the “animadversions” expressed by his brother-in-law, Sir Robert Howard, in the preface to Howard’s The Great Favourite, or The Duke of Lerma (1668). With a show of politeness, Dryden writes, “I am forced to fight, and therefore it will be no shame to be overcome” (p. 4). He is particularly miffed because Howard “takes notice of my great pains to prove Rhyme as natural in a serious Play, and more effectual than blanck Verse” (p. 5). Part of Dryden’s defensive arguing technique involves quoting and italicizing passages from Howard’s preface, including this one referring to Sancho Panza: Yet he [Howard] has another reason for this disgust of Poesie; for he says . . . that the manner of Plays which are now in most esteem is beyond his power to perform: to perform the manner of a thing, I confess, is new English to me. However, he condemns not the satisfaction of others, but rather their unnecessary understanding, who, like Sancho Panca’s doctor, prescribe too strictly to our appetites; for, says he, in the difference of Tragedy and Comedy, and of Farce it self, there can be no determination but by the taste, nor in the manner of their composure. (p. 10)

Howard (and thus Dryden) are here recalling the physician assigned to Sancho Panza when he becomes governor of Barataria. After the physician (Pedro Recio de Agüero) orders one tasty dish and then another to be whisked off Sancho’s 1

Though Dryden’s “Defence” was included only in some copies of The Indian Emperour and thus is difficult to access, it is readily available in a handful of edited sources. Here it is quoted from John Loftis’s edition of The Indian Emperour in The Works of John Dryden, vol. 9 (Berkeley and Los Angeles: University of California Press, 1966), 3–22.

286

cervantes in seventeenth-century england

dining table, Sancho is informed that it is the physician’s job to decide what food is suitable for him (DQ 2.47). 479. Dryden, John, Sir Martin Mar-All: or, The Feign’d Innocence. D2359. UMI 688:5 “No [Restoration] play proved more popular on the stage than Sir Martin Mar-All,” writes Allardyce Nicoll of this comedy by Dryden.2 It is a play with a mixed background: Dryden apparently adapted it from a work by his patron William Cavendish, Marquess (and later Duke) of Newcastle, who had translated and adapted it from the French dramatist Quinault’s L’Amant indiscret (1654) and Molière’s L’Etourdi (1653?). Performed first in August, 1667, at the Lincoln’s Inn Fields theater, its titular hero is defined in the dramatis personae simply as “A Fool.” In fact, as Gustav Becker observes (Aufnahme, 54), Sir Martin’s “Man” Warner addresses him thus in 4.1: Faith Sir, my skill is too little to praise you as you deserve; but if you would have it according to my poor ability, you are one that had a knock in your Cradle, a conceited lack-wit, a designing Ass, a hair-brain’d Fop, a confounded busie brain, with an eternal Wind-mill in it. (p. 40)

Thus another English writer appears to allude to what had come to be the best known of all episodes in Cervantes’s Don Quixote (DQ 1.8). Other editions in 1668: D 2360 (UMI 712:11 and 1329:26), p. 38; D2360A, p. 38. Other editions: D2361 (1669), p. 38; D2362 (1678), p. 33; D2363 (1691), p. 33; D2364 (1697), p. 29. Also found in Dryden’s Works: D2207 (1691); D2208 (1693); D2209 (1694), vol. 1, p. 33; D2210 (1695). Also found in Dryden’s Dramatick Works: D2211 (1695). 480. Ellis, Clement, The Gentile Sinner: or, England’s Brave Gentleman. E559. UMI 1503:15 For a reference to the popularity of Don Quixote and its influence on the beau monde, see E556 (1660); in this edition, the passage is found on p. 32. 481. Howard, Robert, The Great Favourite: or, The Duke of Lerma. H2996. UMI 279:6 In “To the Reader” in a section on “the manner of Plays which now are in most esteem,” Sir Robert Howard (1626–1698) refers to the physician who tried to put Sancho Panza on a diet (DQ 2.47): [N]or do I condemn in the least any thing of what Nature soever that pleases; since nothing cou’d appear to me a ruder folly, than to censure the satisfaction 2

Nicoll, A History of English Drama 1660–1900, vol. 1 (Cambridge: Cambridge University Press, 1967), 228.

1668

287

of others; I rather blame the unnecessary understanding of some that have labour’d to give strict rules to things that are not Mathematical, and with such eagerness, persuing their own seeming reasons, that at last we are to apprehend such Argumentative Poets will grow as strict as Sancho Pancos Doctor was to our very Appetites; for in the difference of Tragedy and Comedy, and of Fars [sic] it self, there can be no determination but by the Taste. (sig. A3r )

This would be one of a number of passages that Dryden selected for comment in his Defence of an Essay of Dramatique Poesie, Being an Answer to the Preface of The Great Favourite, or the Duke of Lerma (q.v., herein 1668). Also found in Howard’s Five New Plays: H2992 (1692), sig. Dd3v ; H2992a (1692), sig. Dd3v ; H2993 (1692), sig. Dd3v ; H2994 (1700), sig. Dd3v . 482. Lilly, William, The Life of William Lilly, Student in Astrology3 Beneath this title and written “Propria Manu,” the famous astrologer William Lilly (1602–1681) has recorded: “Wrote by himself in the 66th Year of his Age, at Hersham in the Parish of Walton upon Thames in the County of Surrey.” Well along in his life story (which begins with his birth in Queen Elizabeth’s time), Lilly writes that on a day in the year 1640, in the Mitre Tavern in Fleet Street, he was introduced to one John Humphreys, who wished to be his pupil in astrology. Lilly agreed to teach Humphreys for 40 pounds, though he was unimpressed by the man. In a somewhat rambling effort to describe Humphreys, in fact, he finally turns to three of Spain’s most famous fictions, including Don Quixote: This Humphreys was a laborious Person, vain-glorious, loquacious, Fool-hardy, desirous of all Secrets which he knew not, insomuch that he would have given me 200 l . to have instructed him in some Curiosities he was perswaded I had Knowledge of. . . . He was in Person and Condition such another as that Monster of Ingratitude my quondam Taylor, John Gadbury. . . . [A]t that Time (and this was 1640) I thought John Booker the greatest and most compleat Astrologer in the World. My Scholar Humphreys presently made answer; ‘Tutor, you need not pump for any of your former Knowledge, John Booker is no such Pumper; we met, saith he, the other Day, and I was too hard for him my self, upon Judgment of 3 or 4 Questions.’ If all the Transactions happening unto that my Scholar were in one Volume, they would transcend either Guzman, Don Quixot, Lazarillo de Tormes, or any other of the like Nature I ever did see. (p. 34)

Though Alemán’s work known as The Rogue: or, The Life of Guzman de Alfarache (first translated to English in 1622) and the anonymous Lazarillo de Tormes (1576?; first extant English edition, 1586) both focus on the stories of pícaros and Don Quixote does not, all three works are packed with incident and dependent on travel. 3

Ed. by Katharine M. Briggs and quoted here from The Last of the Astrologers (London: Folklore Society, 1974). See Fig. 21, p. 363.

288

cervantes in seventeenth-century england

483. Randolph, Thomas, Poems. R245. No UMI For a reference to the fame of Don Quixote the Knight Errant and an allusion to Dulcinea in The Conceited Pedlar, see STC 20686 (1630); in this edition, the passage is found on p. 335. Another edition in 1668: R246 (UMI 749:20, 1429:9), p. 335. 484. Rust, George, A Funeral Sermon, Preached at the Obsequies of the Right Reverend Father in God Jeremy Lord Bishop of Down, Who Deceased at Lisburne August 13th 1667. R2362. UMI 1410:8 In this sermon preached at the funeral of Jeremy Taylor (1613–1667), Rust (c.1628–1670), Bishop of Dromore, says Taylor thought academic nit-picking was comparable to the madness of the knight of La Mancha: [H]]e had not only the Accomplishments of a Gentleman, but so universal were his Parts, that they were proportion’d to every thing; and though his Spirit and Humor were made up of Smoothness and Gentleness, yet he could bear with the Harshness and Roughness of the Schools; and was not unseen in their Subtilties and Spinosities, 4 and upon occasion, could make them serve his purpose; and yet, I believe, he thought many of them very near akin to the famous Knight of the Mancha, and would make sport sometimes of the Romantick Sophistry and phantastick Adventures of School-Errantry. (pp. 18–19; sig. B4v –B5r )

Another edition in 1668: R2362a. Another edition: R2363 (1670), p. 13; R2364 (1672), p. 77 (sig. F7r ). Also found in Jeremy Taylor, ∏ÌÈ·ÏÙÔÚ [Eniautos]. A Course of Sermons: T332 (1673), p. 77 (2nd pagination); T333 (1678), p. 250 (2nd pagination). Also found in A Remembrancer of Excellent Men, ed. Clement Barksdale: B806 (1670), p. 157. 485. Waller, Edmund, Poems, &c. W515. UMI 882:6 For a reference to Don Quixote’s encounter with a windmill (DQ 1.8) in “To the Mutable Fair,” see W511 (1645); in this edition, the passage is found on p. 128. 486. Willan, Leonard, The Perfect States-man or Minister of State. W2265. UMI 1771:15 One of the more opaque writers of his own or any time, Willan (fl. 1648–70)5 published in several fields. His major effort as a dramatist—and very likely a revealing one insofar as his political posture is concerned—is a tragedy titled Orgula (1658), which depicts a tyrant Lord Protector named Sinevero who weds and is killed by a woman called Orgula. 6 Some while later and still concerned 4 5

6

Spinosities: thorniness. Jonathan Pritchard writes that Willan’s birth and death dates are both unknown (Oxford DNB, 59:8–9). See Randall, Winter Fruit: English Drama 1642–1660 (Lexington: University Press of Kentucky, 1995), 135–8. Orgula: cf. Spanish orgullo, pride.

1668

289

with political matters, Willan in his Perfect States-man explores the “principles whereby gentlemen may be qualified for the management of any publick trust” (title page of the second edition). Here, in an introductory address “To the Reader,” he signals the seriousness of his book by setting it apart from those frivolous works that appeal merely to “the depraved Relish of the Time.” He assures readers: It hath nor Badge nor Signature of Hudebras, or Don Quixot to warrant a Reception. (sig. a1r )

Another edition entitled The Exact Politician, or, Compleat Statesman: W2263 (1670), sig. a1r . 487. Winstanley, William, Poor Robin, 1668. An Almanack after a New Fashion. A2187. UMI 1803:19 Under the heading “Observations for January,” “Don Quixot” is celebrated on 6 January (sig. A5r ). Under the heading “Observations for February,” “Sancho Panca” is celebrated on 28 February (sig. A6r ). 488. Winyard, Thomas, Midsummer Moon in J [ohn] Cleveland Revived: Poems, Orations, Epistles, and Other of His Genuine Incomparable Pieces. C4677. UMI 958:11 An early example of Don Quixote’s name being turned into a verb occurs in Thomas Winyard’s Midsummer Moon: or, Lunacy Rampant. Being an Universitie Character, and a Short Survey of Some of the Late Fellows of the Colledges, W3097 (1648); in this edition, the passage is found on p. 173.

@

1669

#

489. An Address to the Hopeful Young Gentry of England. A565. UMI 1083:3 When far advanced into his Address here, the author, in a section on gambling and swearing, observes that the heedless “Quixotry” of gambling is linked to swearing as surely as Don Quixote is linked to Sancho Panza. Though ironically presenting himself as “a perfect honourer” of such pastimes, he nevertheless warns the gilded youth of Restoration England thus: All your gains at play can never be adopted to serious and noble uses . . . and the Infidels that depend on Events of as great success every day will find their own Family unprovided for. I will joyn to this Quixotry its inseparable Sancho through all the adventures of Gaming; that bears the weapons; and Portmantua1 full of Lightning and Thunder: I mean the SWEARING That attends Gamesters; which is so much the more inexcusable, because all this while our Gallants must play with as little concern and regret as the Don had, whether he did beat or was beaten; the generosity of his spirit and glory of the Adventurers would not bear a second beating by his own passions. (pp. 84–5)

490. Allestree, Richard, The Gentlemans Calling. A1120b In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on pp. 134. 491. Butler, Samuel, “Wit and Folly.” British Library Add. MSS 32625–62

Not surprisingly, the mind of the creator of Hudibras turned to Don Quixote elsewhere. In the manuscript at hand, one of Butler’s paragraphs begins “Men that are mad upon many things, are never so extravagant as those who are possest with but one.” It closes with an allusion to Cervantes and a specific contrast of Don Quixote to Sancho Panza: [A]lthough a Mad man in his Intervals, is much wiser then a Naturall Fool: yet a Fool (if he be not very stupid) has (al[l] things considered) much the Advantage of him. For Nature never made anything so bad as the Deviations from her have render’d it: Nor is she more Improv’d by Art, and Ingenuity, then Impayr’d by 1 2

Portmantua: portmanteau, a container in which travelers pack clothes and other items. First printed in Samuel Butler, Characters and Passages from Note-Books, ed. A. R. Waller (Cambridge: Cambridge University Press, 1908), 327–8. In his edition of Butler’s Remains (1759), Robert Thayer notes that “most of these Characters . . . were chiefly drawn up from 1667 to 1669”; we have, therefore, arbitrarily placed this reference here (i.e., 1669) at the end of that time frame.

1669

291

Artificiall Folly,3 and Industrious Ignorance. And therefore the author of Don Quixot, makes Sancho (though a Natural fool) much more wise and Politique then his Master with all his Study’d, and acquir’d Abilities.

492. Cleveland, John, Poems. With Additions Never Before Printed. C4698. UMI 1353:4 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 39. For a reference to Don Quixote in “The Publique Faith,” sometimes attributed to Cleveland, see Richard Fletcher’s Ex otio negotium: or, Martiall His Epigrams Translated. With Sundry Poems and Fancies, M831 (1656), where it was first published; in this edition, the passage is found on p. 90. The poem was also reprinted in Alexander Brome’s Rump, B4851 (1662), q.v. For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 183. For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 192. 493. Cokaine, Aston, Choice Poems of Several Sorts. C4895. UMI 1400:22 For an epigram addressed to Dulcinea, see A Chaine of Golden Poems, C4894 (1658); in this edition, the passage is found on p. 197. 494. Dryden, John, Sir Martin Mar-All: or, The Feign’d Innocence. D2361. UMI 688:6 For an allusion to Don Quixote’s attack on a windmill (DQ 1.8) in 4.1, see D2359 (1668); in this edition, the passage is found on p. 38. 495. Dryden, John, The Rival Ladies. A Tragi-Comedy. D2347. UMI 736:26

For a notice that it is likely that Dryden knew and used Cervantes’s Las dos doncellas, a story from the Novelas ejemplares—probably James Mabbe’s translation as it appeared in either his Exemplarie Novells (1640) or his Delight in Severall Shapes (1654)—see D2346 (1664). 496. Heylyn, Peter, Cosmographie. H1692a. UMI 633:2 For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona, an allusion to DQ 1.29 et seq., and to Sancho Panza’s island of Barataria, an allusion to DQ 2.45 et seq., see 3

Artificial Folly: In his diatribe against plays, William Prynne writes: “Yea, what else is the whole action of Playes, but well personated vanity, artificial folly, or a lesse Bedlam frenzie?” (Histrio-mastix [London, 1633], p. 174).

292

cervantes in seventeenth-century england

H1689 (1652); in this edition, the passage is found on pp. 161–2 (4th pagination, sig. V4r–v ). 497. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3228. UMI 1915:12

For references to Don Quixote and Sancho and an allusion to DQ 1.8, see L3225 (1659); in this edition, the passage is found on pp. 169–70. Another edition: L3228A (1669), UMI 1797: 29, pp. 169–70. 498. Owen, John, Truth and Innocence Vindicated: In a Survey of a Discourse Concerning Ecclesiastical Polity; And the Authority of the Civil Magistrate Over the Consciences of Subjects in Matters of Religion. O817. UMI 191:2 As a theologian, John Owen (1616–1683) was basically a defender of religious liberty. Here in his “Review of the Preface” of Bishop Parker’s Ecclesiastical Politie (in which Parker asks, “[W]ho sees not that there is no Creature so ungovernable, as a Wealthy Fanatick,” p. xli), Owen alludes to DQ 1.8: Methinks it had more become him, to have fought some Giant in Reason and Learning, that might have given him at least . . . a danger big enough to exercise his Courage, though through mistake it should in the issue have proved but a Wind-mill. Again! I know not whence it is, nor by what Rules of Errantry it may be warranted, that being to conflict with such pittiful trifles, he should before he come near to touch them, thunder out such terrible words, and load them with so many reproaches and contemptuous Revilings, as if he designed to scare them out of the Lists, that there might be no tryal of his strength, nor exercise of his skill. (p. 14)

499. Reynolds, John, The Triumphs of Gods Revenge. R1311A. UMI 2337:9

For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of . . . Don-Quixote (Part 1) or The Travels of Persiles and Sigismunda. A Northern History, see STC 20943.3 (1622). This edition survives as a unique fragment of book 3 only. 500. Sheares, Margaret, “Catalogue of Books” in Remains of Sir Walter Raleigh. R183. UMI 2015:4 Following the table of contents and “The Table of the Chapters contained in Sir Walter Raleighs Instructions to his Son,” a list of books appears under the heading: “These Books following are printed for Margaret Sheares; and are to be sold at her Shop at the Blew Bible in Bedford street in Covent Garden.” The first item in the catalogue is: Delights in several shapes, drawn to the life in six several shapes, pleasant Histories, by that famous Spaniard Don Miguel de Cervantes Savedra, the same that wrote Don Quixot in folio. (sig. A5r )

1669

293

Number 15 in the catalogue is also of interest here: Gayton’s Notes upon Don Quixot, in folio.

(sig. A6r )

501. Winstanley, William, Poor Robin, 1669. An Almanack after a New Fashion. A2188. UMI 1994:19 In “The Fanaticks Chronology” within Poor Robin there are references to both Don Quixote (DQ 1.8) and Sancho Panza (DQ 2.45): Don Quixot conquer’d the Wind-mills 0109 [years ago]. . . . Sanco Panca took posses. of the inchant. Island 0504 [years ago]. (sig. A3r )

In “Observations on January,” “Don Quixot” is celebrated on 16 January (sig. A5r ), and in “Observations on February,” “Sancho Panca” is celebrated on 26 February (sig. A6r ).

@

1670

#

502. Allestree, Richard, The Gentlemans Calling. A1121. UMI 680:9 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 503. Culpeper, Thomas, The Necessity of Abating Usury Re-asserted. C7560. UMI 1828:9

Sir Thomas Culpeper, the younger (1626–1697?), of Greenway Court, Kent, edited and wrote a preface for this tract written by his deceased father, Sir Thomas Culpeper, the elder (1578–1662). In recent times the elder Culpeper has been recognized as shifting arguments against usury from divine law to utilitarian economics.1 At one point in The Necessity of Abating Usury he indulges in a little rhetorical flourish by invoking the example of Don Quixote. During a conversation supposedly held between T. M. (the book is designed as a reply to Thomas Manley’s Usury at Six Per Cent. Examined [1669]) and T. C. (i.e., either one of the two Thomas Culpepers), the latter remarks on a financial maneuver he deems to be inadequate: But four per Cent. belike, a little alters the case, and infuses such metal [i.e., mettle] into a . . . poor wretch, that all on the sudden he is on fire, and a perfect Knight-errant, for what would you expect more of Don Quixot himself, then to rush upon projects and undertakings? (p. 42)

504. Eachard, John, The Grounds & Occasions of the Contempt of the Clergy and Religion Enquired Into. E50. UMI 787:15 In a letter addressed to R. L. Eachard (1637–1697), a clergyman and later master of St. Catharine’s College, Cambridge, decries the ignorance of some clergy about the ways of the real world. In a passage about the importance of wit in conversation, he offers Don Quixote as a witty work that has won universal approval: Greek and Latin which heretofore, though never so impertinently fetch’d in, was counted admirable, because it had a learned twang, yet now, such stuff being out of fashion, is esteemed but very bad company. . . . [H]e that has made it his whole business, to accomplish himself for the applause of a company of Boys, SchoolMasters, and the easiest of Countrey Divines, and has been shoulder’d out of the Cock-pit for his Wit; when he comes into the World, is the most likely person to be kick’d out of the Company, for his pedantry and over-weening opinion of himself. And, were it necessary, it is an easie matter to appeal to Wits both ancient 1

Anita McConnel, Oxford DNB, 14:605.

1670

295

and modern, that beyond all controversie have been sufficiently approved of, that never, I am confident, received their improvements by employing their Time in Puns and Quibbles. There is the prodigious Lucian,2 the great Don of Mancha, and there is many now living Wits of our own, who never certainly were at all inspir’d from a Tripus’s, Terræ-filius’s, or Prævaricator’s Speech. (pp. 36–7)

Thus Cervantes’s “great Don of Mancha” is contrasted to the Cambridge bachelor of arts chosen to dispute jokingly with candidates for degrees (the tripos) and the comparable speaker at Oxford (the terrae filius), as well as to the Cambridge orator charged with delivering a jocular or satiric speech at commencement (the prævaricator). Other editions: E51 (1671), pp. 45–7; E52 (1672), pp. 44–6; E53 (1685), pp. 44–6; E54 (1685), entry cancelled; E55 (1696), pp. 44–5; E56 (1698), pp. 44–5; E56A (1672), pp. 44–6; E56B (1685), pp. 44–6. Not found in Dr. Echard’s Works (1697). 505. Heylyn, Peter, Cosmography. H1693. UMI 633:3 For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona (DQ 1.29 et seq.), and to Sancho Panza’s island of Barataria (DQ 2.45 et seq.), see H1689 (1652); in this edition, the passage is found on pp. 1094–5. 506. A Lash for Lex Talionis: or, A Just Repræhension of the Practising Apothecary in The Accomplisht Physician. M1835. UMI 1312:14 The buyer of The Accomplisht Physician, attributed to Christopher Merret (1614–1645) in Wing but occasionally to Gideon Harvey (1640?–1700?), was rewarded with three other works printed with it: The Physicians Circuit, The History of Physick, and A Lash for Lex Talionis. In the latter, the author says that while browsing in a ballad-seller’s stall, he picked up a work entitled Lex Talionis (1670) that attacked the honor and reputation of three fine men “very Accomplisht and Eminent Learned in their Profession,” Drs. Merret, Goddart, and Daniel Cox (“a person as ingenious as learned”) by “a clandestin[e] scurrilous Cabal of four or five Practising Apothecaries, raking up . . . all the filth and dirt the Sinck of their imagination stunk of, but with no other success than the bespattering of themselves, and defiling their own Nest” (p. 91). The author allegedly hired by the apothecaries augmented his attack with Greek and Latin phrases, but the writer of A Lash is less than impressed with his handling of learned languages and calls him Don Quixote: [C]onfident I am the learn’d Author’s Gotham assistants3 are scarce guilty of knowing the first letter of the Greek i’ th’ title, though it proved their neck 2 3

Lucian (c. a.d. 115–c.200) was famous not only for his satirical dialogues but also for his fantastic tales. Gotham assistants: the name Gotham was proverbial for a village full of fools. As an adjective, it means “stupid” or “foolish.”

296

cervantes in seventeenth-century england

Verse. . . . 4 Though when he trug’d5 to Cambridg[e] for a degree in Blockhead in Physick, Don Quixot falter’d most abominably, being better vers’d in Priscian 6 than Galen. . . . Now let’s Blazon the Primitive of your derived so eminent Profession, as he call’s it. Apothecary Pot-carry, Pot-carry Pit-carry, Pit-carry Picaro. O Picaro, art thou the Father of so eminent a Generation! then may I say with the Author in the farewell of his Prologue; From a Picaro-Pit-carry-Apothecary Libera me Domine. (pp. 94–5)

507. Patrick, Symon, A Further Continuation and Defence: or, A Third Part of the Friendly Debate. P805. UMI 726:5 Symon Patrick (1626–1707) was a widely known cleric and prolific writer who in his later years was named Bishop of Ely. His Further Continuation and Defence leans on two of his earlier works: A Friendly Debate between a Conformist and a Non-conformist (1668?) and A Continuation of the Friendly Debate (1669). In 1684, in a later edition of A Friendly Debate, Patrick states his original purpose most directly. He wrote to “take down the pride and insolence wherewith the Nonconformists began at that time to treat us . . . and particularly [to show] how necessary a part of Christian piety it is to obey the public laws, which no way contradict the laws of God, and to live in unity with their Christian brethren.”7 Patrick’s word “laws” is plural, but probably the major public law most immediately at hand was the so-called Five-mile Act of 1665, which required all nonconformist ministers to swear not to seek changes in either church or state and not to dwell within five miles of a place where they had ministered. In each of the three works noted here, Patrick’s “taking down” is softened somewhat by being presented as a dialogue between “C.” (a conformist of the established Church) and “N.C.” (a nonconformist or dissenter). The tone of A Further Continuation is the harshest in the group, however, because Samuel Rolle (c.1628–1679 or 1680), a Presbyterian divine using the name “Philagathus,” had responded to Patrick in a volume called A Sober Answer to the Friendly Debate (1669). Patrick chose to indicate the temper of his response to Rolle in a table of contents that points forward to “The furious folly of Philagathus . . . Who resolved not to be convinced . . . And phancies himself another David . . . But is more like Don Quixote” (sig. b1r ). Within the text, C. refers to his respondent thus: [T]his Doughty Knight had no sooner bestrid his Beast and marched a few paces, but by some Inchantment or other he lost his wits, and was turned into a new Don 4 5 6 7

Neck Verse: a Latin text (usually Psalm 51), the reading of which could literally save the neck of a condemned prisoner who claimed benefit of clergy. Trug’d: trudged, walked, perhaps with difficulty (OED). Priscianus Caesariesis, a Latin grammarian who flourished in Constantinople (a.d. 491–510), was frequently assigned to schoolboys. The Works of Symon Patrick, D.D., ed. Alexander Taylor, vol. 1 of 9 vols. (Oxford: Oxford University Press, 1858), p. lxxxiii.

1670

297

Quixote. (p. 17) . . . I should have told you, as the custom is, that of all the days in the year it was April 21, in the cool of the Spring [in a shoulder note: “which makes the adventure more wonderful, Don Q. fury happening in the warmest day of July.”8 ], the Nonconformists being then in the tenth degree of Taurus, or to speak in plain terms, in the Second of the twelve signs of the Zodiack of their sufferings. Then, I say, it was, when the good Knight Philagathus, or as he is sometimes stiled, Philogathus (for there is a difference about his Name, as there was about Don Quixotes) abandoning the slothful plumes, and causing certain old rusty Arms to be scoured, which had a long time lain neglected and forgotten . . . , he put on his Cap, took up his Pen or Lance (call it which you please) and mounted his Steed, marvelous content and jocund to think what a noble enterprise he took in hand, of cleaving Giants, beheading Serpents, killing Monsters, finishing Enchantments, and in one word, righting all the wrongs, and redressing all the injuries, that had been done to the N.C . [Nonconformist] He had no sooner sallied forth, but a world of windmills whirl’d in his head; and at every turn he fancied he saw some Giant, some impious Goliah defying the Armies of the living God. Upon these he sets with a zealous rage, and by his own single arm, in his conceit, vanquishes them all; not having so much as a Sancho Pancha to wait upon him. (pp. 19–20) . . . But of all the Apparitions he encountred in this Frenzy, there are none put him into so great a Passion, as an huge Giant, just like that wicked Alifamfaron, a furious Pagan, mentioned in the famous History of Don Quixote. 9 (pp. 22–3) . . . [H]e multiplyed Monsters in his wild Imagination, which made those things appear prophane and impious, yea and bent against Religion (for these things are different in his conceit) which are as innocent as that Flock of Sheep which Don Quixote took for so many Giants in Alifamfarons Army. So some of his Friends, as I understand, told him, and would have restrained him (as Sancho laboured to do his Master) from making such a desperate assault upon such harmless things; but nothing could withhold him: Away he flings and hunts up and down, as Don Quixote did among the Sheep, saying, in a great head, Where art thou proud Alifamfaron, where art thou? O have I found thee? come to me thou proud Wretch, for I am but one Knight alone, who desire to prove my force with thee man to man, and deprive thee of thy life, in revenge of the wrongs thou hast done to the N. C. (pp. 23–4) N. C. . . . Pray make an end of this idle tale. C . You must know he was so merciful, as not to kill him, provided he would submit to this condition, to go to W.B.10 as Don. Q. resolved to enjoyn the

8

9

10

An unusual detail. In Shelton’s English of 1612: “And therefore without acquainting any living creature with his intention, he unseene of any, upon a certaine morning, somwhat before the day (being one of the warmest of July) armed himself Cap a pie, mounted on Rozinante” (DQ 1.2, p. 8). Alifanfaron, Emperor of Trapobana, is invented by Don Quixote during his adventure with the sheep (1.18). The noun fanfarrón means boaster or bully; in adjectival form it suggests boasting, swaggering. William Bridge (1600–1670), Cambridge-trained, was a minister in Essex and Norwich until silenced by Bishop Wren. Subsequently excommunicated, he moved to Rotterdam. (King Charles I wrote: “Let him go, we are well rid of him.”) In 1642 he returned to England and became highly visible as a member of the Westminster Assembly of Divines. For a while he also served as pastor in Yarmouth and Essex, but was expelled by the Act of Uniformity in 1662 (Taylor, Works of Symon Patrick, 5:284–6).

298

cervantes in seventeenth-century england

conquered Caraculiamtro11 to go to his Dulcinea, and falling on his knees with an humble and submissive voice ask forgiveness. . . . N. C. It’s well the fray is over: and I hope you have done your Story. C. I have omitted a number of pleasant conceits that came into his head, which would make a Volume as big as Amadis de Gaul, should they be all written. And now I mention him, it calls to mind a notable dispute which hapned [sic] between Don Quixote and a neighbour of his, touching who was the better Knight Palmarin of England, or Amadis de Gaul: for just such another doth our Don raise about this Question, Whether St. Taffee, or St. Patrick was the better Saint. . . . 12 N. C. I confess here he stumbled grieveously. But I thought you would have been so kind, as to have imputed it to the power of Enchantment. C. That I confess is the best excuse, which will make his mistakes as pardonable as the Errors of his Predecessor Don Quixote; who took his Inne for a great Castle, and the honest Host for the Noble Constable of it. And indeed a pleasant sight it is, to behold how while he is searching for one thing, he still encounters another, as Sancho sorrowfully told Maritornes.13 He transforms every thing he meets withal into something else quite of another nature. . . . But he is never more extravagant, than when he comes to talk of keeping days, which is as dear to him as Dulcinea to his Brother Don. . . . [H]ow prettily he frisks, how lightly he leaps over all difficulties, and jumps from one thing to another at the greatest distance; just like the Knights-Errant, who are carried in a clowd from one Country to another in the twinkling of an eye . . . by the help of the wise Enchanter. And then he doth so nimbly, and with so much facility apply every thing he meets withal to his raving Chivalry and ill-errant thoughts (as the Author of Don Q. History speaks) that it is no small pleasure to behold it. . . . (pp. 24–29) He is as merry as a Cricket for all this: and injoys [sic] himself most sweetly in the thoughts of his noble atchiev[e]ments. N. C. But he hath stumbled so scurvily, that he hath wounded himself very much in my opinion. C. Never fear; he is so full of mettle that he will scarce feel it, though he should receive such a blow on the jaws, as was given Don Quixote; which left him but two teeth and an half; all the rest being as plain as the palm of my hand. . . . (p. 31) N. C. But he hath rub’d his eyes, you must know . . . and sees he was mistaken. . . . C . Then he begins to come to himself, as Don Quixote did before he died: and though he be as yet but half awake, . . . yet he may in time recover his perfect senses, and recant all that he hath said: Especially if some friend will be at the pains to rouze him; as, I have reason to believe that he was beholden for this little illumination, to some honest Sancho or other: who alway[s] talkt more soberly than Don, and would never believe the Windmill to be a Giant, nor the innocent Muttons to be monstrous devouring Pagans, coming to fight against the Christian Faith. When the Enchantment is finished, it is to be hoped he may be in as good a mind; and so we will leave him, and prosecute his innumerable follies no further. 11 12 13

The giant Caraculiambro (a risque burlesque name: cara de culo), lord of the island of Malindrania (DQ 1.1). Apparently a comparison between the Irish St. Patrick and the Welsh St. David (i.e., Davy or Taffy). Maritornes is a homely and easy servant at an inn, introduced in DQ 1.16.

1670

299

N. C. You will do him and me too a great kindness: for I am weary of it. C. But if some School-boy about the Town should take the toy in his head, to finish the History, How can I help it? Or if some young Freshman in the University shall take him to task, and belabour him as the Yanguesian Carriers did Don Quixote with their Truncheons, or the Vale of Pack-Staves;14 or toss him in a Blanket, as, the Play-some Clothiers did Sancho, till mere weariness constrain’d them to give over: he must thank himself for it. . . .15 (pp. 35–6)

When N. C. attempts to defend the object of C.’s scorn by suggesting that his discourses were “very orderly sometimes,” C. responds with an allusion to Cervantes: And then for a shew of Learning there is nothing need be done (as a Friend of the Author of D. Quixotes History told him) but only to bob into the Book some Latine Sentences, which he knows already by rote, or may easily get without any labour.16 (p. 40)

Disturbed “to think that the Nation should be thus abused by every forward and daring man, who hath so good an opinion of himself, as to write Books,” and arguing that “no man be the judg[e] of his own Abilities, but every work pass the approbation of discreet and judicious persons,” C. says: This was never more necessary than now, when those undertake to inform and teach the Nation, who have not so much knowledg[e] as the Prophesying Ape, which Giles of Passamonte went about to cosen the Country.17 N. C. What was that? C . It had this notable faculty; that it could tell nothing at all of what was to come, but knew something of what was past; and a little of things present: otherwise it would never mount up to Giles his shoulder, and chatter in his ear. (p. 135)

Still farther on, protesting that Philagathus has misread and taken personally some comments “concerning the black and white caps upon some N.C. Ministers heads,” C. alludes to DQ 1.10 et seq. as he claims: I had no particular man in my thoughts, I assure you. . . . As for any of their headpieces, I neither fear nor envy them; though they were as good as Mambrino’s golden Helmet. Only I must remember you, that men of such like brains as his, have as little judgment in head-pieces, as that D[o]n, who took a Barbers bason for that impenetrable Helmet. (pp. 265–6) 14 15 16 17

These carriers from Yanguas (Segovia) react badly when Rocinante decides to solace himself among their mares (DQ 1.15). Sancho’s tossing occurs when Don Quixote leaves an inn without paying (DQ 1.17). Cervantes mentions this dubious advice in his preface to the first part of Don Quixote. Passamonte: Ginés de Pasamonte, who re-enters the story as Maese Pedro, the puppeteer and apemaster, in DQ 2.25.

300

cervantes in seventeenth-century england

And commenting on Richard Bancroft’s memorable attack on Puritans in a sermon delivered at Paul’s Cross on 9 February 1589, C. turns yet again to Don Quixote: [A]ccording to that famous Cosmographer Don Quixote [in a shoulder note: “Part. 2. chap. 29.”]— N.C. That’s as bad as Brachygrapher.18 C. No, its grown a common word and as well known as if you say a describer of the world. N.C. Well; go on. C. According to him, I say, as soon as ever any ship hath passed the Equinoctial, immediately all the Lice dye, so that there is not one to be found about any man there, if you would give it’s weight in gold for it. And therefore he may spare that request which Don Quixot made to Sancho whom he beseeched to grope a little (when he was in doubt where they were as they sailed in the enchanted Bark) for if he found never a live thing about him, he might be sure they had cut the line.19 There needs no more labour but to scratch his head for a Reason to satisfy this inquisitive Gentleman, how one so cleane, so free from all vermine, should have such conceits crawling in his head. N.C. This jesting doth not become you. C. Had I not better laugh, than be angry at his folly? (pp. 383–4)

508. Quevedo y Villegas, Francisco de, The Life and Adventures of Buscon. Q191a. UMI 1237:26 For references to Rocinante and Sancho Panza, see Q190 (1657); in this edition, the passages are found on pp. 19 (sig. B2r ), 121 (sig. H5r ). 509. Reynolds, John, The Triumphs of Gods Revenge. R1312. UMI 1660:24

For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of . . . Don-Quixote (Part 1) or The Travels of Persiles and Sigismunda. A Northern History, see STC 20943.3 (1622); in this edition, the passage is found on p. 78. 510. Rust, George, A Funeral Sermon Preached at the Obsequies of the Right Reverend Father in God Jeremy Lord Bishop of Down: Who Deceased at Lisburne August 13th 1667. R2363 For an allusion to the harmless madness of Don Quixote’s knight errantry, see R2362 (1668); in this edition, the passage is found on p. 13. 18

Brachygrapher: a writer of shorthand.

19

This passage refers to DQ 2.29.

1670

301

511. Salas Barbadillo, Alonso Jerónimo de, The Fortunate Fool. Written in Spanish. Translated into English by Philip Ayres. S369. UMI 1410:14

A friend and admirer of Cervantes, Salas Barbadillo (1581–1635) is here quoted in a translation by Philip Ayres (1638–1712). Apparently Ayres began to learn Spanish in 1666, during the time he served as steward attached to Sir Richard Fanshawe’s embassy to Spain and Portugal. In the fourth chapter of his translation of The Fortunate Fool, from Salas Barbadillo’s Necio bien afortunado, the narrator alludes to Rocinante in a passage about the importance of the appearance of things: [T]here are those, who looking on a horse without his furniture, that should be more swift than those [horses] of the Sun, and more mettlesome than Bucephalus,20 would account him but for a Jade21 that works in a Mill; and if they should see, well harnessed, but Don Quixote’s Steed, would esteem him like Belerophons Pegasus.22 (p. 227)

512. Scarron, Paul, The Comical Romance: or, A Facetious History of a Company of Stage-players. Interwoven with Divers Choice Novels, Rare Adventures, and Amorous Intrigues. S830a. UMI 227:17 Scarron (1610–1660) was a prolific writer of plays and romances, but his most memorable work was Le romant comique (1651), a more or less realistic narrative depicting the doings of a troop of traveling players. Twice here in this English translation by “J.B.” the author has occasion to mention Don Quixote, first in the ninth chapter, “The History of the Invisible Lover, Being a Novel,” where he alludes to the famous Spaniard’s penchant for imagining himself a knight errant: [Y]ou may guess therefore whether our Spaniard was not hugely astonished to find himself in so proud a Palace, with two Ladies masked, who spake not one syllable to him, but conducted him into a neighbouring Chamber, more Nobly furnished then the Dining-room, and there left him alone. Had he been of Don Quixots humour, these adventures were enough to have transported him to some extravagance, suitable to his Rodomontado’s,23 and he would surely have fancied himself at least Esplandian, or Amadis. (pp. 46–7)

This passage is translated somewhat differently by John Davies of Kidwelly in Scarron’s Novels (1665), q.v. In chapter 21 (“Which perhaps will not be found very pleasing”), a “young Counsellor” of the Parliament of Rennes and some actors discuss the novels of Cervantes and the merits of Don Quixote: 20 21 22 23

Bucephalus: Alexander the Great’s steed. Don Quixote considered him to be inferior to Rocinante (DQ 1.1). Jade: a worn-out nag of a horse. Belerophons Pegasus: Pegasus was a winged horse that aided his master Bellerophon in battle. Zeus saw to it, though, that Pegasus did not fly Bellerophon up to heaven. Rodomontadoes: vain and blustering boasts.

302

cervantes in seventeenth-century england

They discoursed of things suitable to their profession as Players and Poets. . . . From Commedies they fell to talk of Romances. The Counsellor affirmed that nothing could be more divertive then our Modern Romances, wherein the French excelled all other Nations: but for Novels the Spaniards had an art beyond us in contriving those little Histories, which are more usefull, and more probable patterns for us to follow, then those imaginary Hero’s of Antiquity, who are sometimes the worse for being charactred [sic] too good. In fine, those examples that are imitable, are to be reckoned at least more usefull, if not more pleasant, then such as do exceed all probability and belief: And so he concluded, that if they could but compose as quaint Novels in French as those written by Michael de Cervantes who seldome brought any Princes on the Stage, they would soon grow as current as ever Heroick Romances have been. Rocquebrune was not of the same opinion; He said very positively, that there could be no pleasure in reading of Romances, unlesse they contained the adventures of Princes, yea and of Famous Princes too, and for that reason, Astrea24 pleased him onely in some parts of it. And in what Histories can one finde Kings and Emperours enough to make you new Romances, said the Counsellor: we must feign such, replied Rocquebrune, as they usually doe in Fabulous stories, which have no foundation but the paper they are built upon. I perceive then, said the Counsellor, that Don Quixot is but slightly esteemed by you. ’Tis the most sottish peece that ere I read, replied he, though many people that pretend to wit have fondly25 cried it up. Have a care it be not rather want of wit in you, then any defect in the book, that makes you judge so rashly said Destiny [“a person of more than vulgar Judgment”]. (pp. 189–91)

Another edition: Scarron’s Comical Romance, S831 (1676), pp. 25, 98–9. See also: The Whole Comical Works of Scarron, S829 (1700), pp. 26, 100–1, a different translation. 513. Sherburne, Edward, Catalogus librorum meorum mens: Sept:ao D: 1670. BL Sloan MS 857 Sometime clerk of the ordnance and a faithful soldier in Charles I’s cause, as well as a poet and translator, Sir Edward Sherburne (1618–1702) suffered the seizure of his estate and his personal property—including his library (Randall, Winter Fruit, 214). This catalogue suggests, nevertheless, that he was not bereft of books in 1670. As F. J. Van Beeck notes, Don Quixote was among the 831 titles owned by Sherburne.26 514. Stubbe, Henry, Legends No Histories: or, A Specimen of Some Animadversions upon The History of the Royal Society. S6053. UMI 298:22–3

A physician (he practiced in Stratford-on-Avon and was a royal physician in Jamaica), as well as a mathematician and Latinist, Henry Stubbe (1632–1676), 24 25 26

L’Astrée, an extremely long but refined and very fashionable French romance by Honoré d’Urfé (1567–1625), made its debut in England in 1620. Fondly: foolishly. Van Beeck, ed., The Poems and Translations of Sir Edward Sherburne (Assen: Van Gorcum, 1961), p. xxxvii.

1670

303

or Stubbes, was variously a parliamentary soldier, a deputy keeper of the Bodleian library, and an outspoken political pamphleteer. Among his numerous writings were four treatises in 1670 that denigrated the aims, claims, and work of the Royal Society.27 In the third of these, Legends No Histories, Stubbs displays his mocking disdain for the Royal Society by quoting a passage from the preface of the second part of Don Quixote. In a scornful section headed “Animadversions upon the Epistle aforesaid,” that is Thomas Sprat’s dedicatory epistle to the king in The History of the Royal-Society [sic] (1667), he writes: [F]rom the days that Sparta flourished to the Empire of the Mancha under the ingenious Author of the Experimental History of Don Quixote, I do not find that the little inventors of trivial and useless toys, though improvements of reall knowledge, and of the powers of all mankind, have had that honor which Mr. Sprat intimates. . . . I find in Michael Cerrantes [sic] in the Preface to the second part of the Manchegal Experiments, a narration concerning an ingenious person in Spain, who was esteemed as mad by his Neighbours, though he did those feats that might have rendred [sic] him considerable to some of the Society, and gained him an immortal fame in Philosophical transactions. The passage runs thus: “There was a Mad-man in Sevil which hit upon one of the prettiest absurd tricks that ever Mad-man in the world lighted on; which was: he made him a Cane sharp at one end, and then catching a Dogs legs under his Foot, and the other he held up with his hand. Then fitting his Cane as well as he could behind, he fell a blowing till he made the Dog as round as a Ball: and then, holding him still in the same manner, he gave him two claps with his hand on his Belly, and so let him go, saying to those that stood by (which always were many) how think you my Masters?” [In a shoulder note: “Preface to the second part of the History of Don Quixote.”] Is it a small matter to blow up a Dog like a Bladder? However in this the most Dull Members of the Society are redevable28 to their Historian. (pp. 9–10)

515. Talbot, Peter, A Treatise of Religion and Government with Reflexions upon the Cause and Cure of Englands Late Distempers and Present Dangers. T118. UMI 1840:1; UMI 882:15 The erudite, ambitious, and politically involved Roman Catholic Archbishop of Dublin, Peter Talbot (1618/20–1680), was also a prolific author.29 Here in his massive, 614-page Treatise of Religion and Government, put forth at the height of his career, he urges religious toleration, holding that Catholicism can furnish not only the strongest support for maintaining social order but also for strengthening the monarchy itself. As his subtitle puts the case, he explores the argument “Whether Protestancy be less dangerous to the soul, or more advantagious to the state, then the Roman Catholick Religion?” The conclusion is that “Piety and Policy are mistaken in promoting protestancy, and persecuting popery by penal and Sanguinary Statuts.” 27 29

28 Mordechai Feingold, Oxford DNB, 53:199–201. Redevable: beholden, indebted (OED). This entry is indebted to Terry Clavin, Oxford DNB, 53:711–14.

304

cervantes in seventeenth-century england

In section III, Talbot targets in particular the elderly and fervently AngloCatholic Bishop of Durham (since 1660), John Cosin (1595–1672). In the process, he quotes repeatedly from Cosin’s A Scholastical History of the Canon of the Holy Scripture, or, The Certain and Indubitate Books Thereof as They Are Received in the Church of England (1657). This third section is labeled “Protestants mistaken in the Canon of Scripture maintained by the Church of England, and by Doctor Cousins Bishop of Duresme” (p. 131). More particularly, its Subsection I is labeled “Doctor Cozins exceptions and falsifications against the Councel of Trent’s authority answered. The difference between new definitions and new articles of faith explained” (p. 337). Here, in the process of belittling Cosin, Talbot draws upon the reader’s knowledge of Don Quixote: The Machabees30 is received by the Church for holy Scripture not unprofitably, if it be soberly read or heard. That is, sayth Doctor Cozins . . . As St. Augustin els[e]wher[e] expoundeth him-self (but where, Doctor Cozins doth not, because he cannot tell) If those things that we read there, be conferred with the sacred and Canonical Scriptures, that whatsoever is thereunto agreeable may be approved, and what is otherwise, may be rejected. According to this acute explanation, which Doctor Cozins fals[e]ly fathers upon S. Austin, the most profane books, and Romances, Esop’s Fables, and Don Quixote, may be received by the Church for holy Scripture, as well as the Machabees. . . . (p. 148)

516. Terne, Christopher, Some Papers Writ in the Year 1664. In Answer to a Letter Concerning the Practice of Physick in England. T760. UMI 2099:14 Christopher Terne (1621–1673) of Rochester, Kent, took his B.A. and M.A. from St. John’s College, Cambridge, then proceeded to the University of Leiden, where he graduated with an M.D.31 Thoroughly committed to the medical profession, he became assistant physician to St. Bartholomew’s Hospital in 1653, and two years later he was elected a fellow of the College of Physicians. In 1662 he became a member of the Royal Society, and two years later he is said to have written the volume at hand. Presumably set aside and unpublished until a friend importuned him, it recommends some reformative changes in the College of Physicians. At one point, in relating a tale about two mad fellows of a Cambridge college, Terne appears to allude—though rather inexplicitly—to Cervantes’s mad knight’s mistaking a windmill for a giant (DQ 1.8). He also may have in mind a story in DQ 2.1, wherein a graduate of the University of Osuna goes mad. After a while the madman there seems to be cured, in fact able to converse sensibly and at length, only to close a conversation by assuring his listeners that he, who is Neptune, god of all waters, can provide rain whenever it is needed. Terne writes: 30 31

Machabees I and II, two books of the Apocrypha, relate the history of a family of Jewish leaders in Judea (c.167–137 b.c.). Norman Moore, rev. Michael Bevan, Oxford DNB, 54:155.

1670

305

[T]wo Fellows of a Colledge in Cambridge . . . had been for some years mad, and at last growing a little civiller in their madness, were suffered to walk abroad, and coming into the Chappel at Evening Prayer, sat devoutly and attentively there, until the second lesson was now to be read, when one of them, before he whose turn it was to read, could get to the desk was there, had turned to the proper Lesson and began to read; all were a little surprized, but perceiving he read distinctly and orderly, let him go on to the end; hopeing he would as orderly then recede; but instead of that, he began a very mad, senseless comment upon the Chapter he had read; some were quickly ordered to get him out of the Chappel, whilest the rest began the nunc dimitis, when Prayer was done, the other madman, who had continued civill to the end of prayers, coming to the master, desired to know why his fellow mad man was not suffered to go on, with his pious and learned Comment, and being answered, because he talked like a Fool, and a Mad-man, what none could understand ; replyed with some admiration, How, not understand him, I profess, Sir, I understood him very well; and certainly it is much after the same manner, that these Men of mighty words, and inextricable notions, understand one another; but I cannot forbear to observe, a pretty kind of Errant like humour . . . in these mens understandings, that what ever there is plain, and of good use to be found, in these Authors they deal on, they either do not understand, over-see, or else pass by, as disdaining to take notice of any thing less then Wind-Mills. (pp. 32–3)

517. Willan, Leonard, The Exact Politician: or, Compleat Statesman. W2263. UMI 1559:39 For a reference to Don Quixote paired with Hudibras, see W2265 (1668); in this edition, the passage is found on sig. a1r . 518. Winstanley, William, Poor Robin 1670. An Almanack after a New Fashion. A2189. UMI 1434:13 In “Observations on January,” “Don Quixot” is celebrated on 15 January (sig. [A5r ]). In “Observations on February,” “Sancho Panca” is celebrated on 26 February (sig. [A6r ]).

@

1671

#

519. Allestree, Richard, The Gentlemans Calling. A1121A. UMI 2379:7 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 520. Behn, Aphra, The Amorous Prince: or, The Curious Husband. B1718. UMI 483:3 A prolific writer of poetry, prose, and plays, Aphra Behn (1640–1689) is said to have been the first English woman to earn a living with her pen. The entry here of her Amorous Prince marks the first of at least five plays in which she indicates an interest in Cervantes. Langbaine was probably the first to cite Cervantes as a source of The Amorous Prince; see Lives and Characters (1699), p. 9. As Frederick Link writes: The Amorous Prince . . . borrows from both fiction and drama. The titular plot, involving Frederick, Laura, Curtius, and Cloris, is apparently original. The secondary plot, in which Antonio insists that his friend Alberto test his wife’s fidelity, comes from Cervantes’s Don Quixote, with minor details from an earlier play on the same subject, Robert Davenport’s The City Nightcap. The main debt is to the novel; but the happy endings and the complications added with Ismena and her disguise make even this action at least half Mrs. Behn’s own work.1

Link refers, of course, to Cervantes’s El curioso impertinente, a novela intercalated in DQ 1.4, 6–8. 521. Canes, John Vincent, Three Letters Declaring the Strange Odd Proceedings of Protestant Divines When They Write Against Catholicks. C436. UMI 933:11 For allusions to DQ 1.8 and 1.18, see Canes’s Epistle to the Authour of the Animadversions upon Fiat lux, C428 (1663); in this collection, the passage is found on pp. 47–8. 522. Cotgrave, John, Wits Interpreter: or, The English Parnassus. C6372. UMI 2477:14 For an allusion to the comic qualities of Don Quixote found in Nathaniel Brooke’s commendatory essay, see C6370 (1655); in this edition, the passage is found on sig. A2v . See Brooke’s “Books Very Lately Printed, and in the Press” (1658). Other references and allusions found in C6371 (1662) are not found in this edition. 1

Link, Aphra Behn (New York: Dial Press, 1980), 93.

1671

307

Another edition in 1671 (with three references): C6372A (UMI 683:19), sig. A8v , p. 390, sig. Ll7v . 523. Eachard, John, The Grounds & Occasions of the Contempt of the Clergy and Religion Enquired Into. E51. UMI 2653:3 For a reference to “the great Don of Mancha,” a work “beyond all controversy . . . sufficiently approved of ” that serves as an inspiration for witty conversation, see E50 (1670); in this edition, the passage is found on pp. 45–7. 524. “Epistle” in The Poems of Horace, Rendered in English and Paraphrased. The Second Edition with Alterations. H2783a. UMI 1636:10 In an epistle addressed to the reader of this volume, someone (probably the stationer) refers to Mambrino’s helmet (DQ 1.21) while explaining the necessity of a revised edition of Horace’s poems. Apparently the late Alexander Brome (1620–1666) had collected a number of translations of various poems which he considered superior to those published anonymously in the first edition; these new translations are substituted in this edition. Wishing to deflect blame and salve the hurt feelings of those writers whose translations were dropped in this edition and to assure readers that the changes were for the better, the epistler concludes: Now should it after all this so happen, that offence be taken where none is intended, The Stationer says he should be very sorry, but could not tell how to help it: And is contented (if his Customers will have it so) that the Barber’s Basin be no longer a Barber’s Basin, but the Helmet of the doughty Mambrino. (sig. A8r )

Another edition in 1671: H2783b, sig. a8r . Another edition: H2784 (1680), sig. A8v . 525. Foulis, Henry, The History of Romish Treasons and Usurpations. F1640. UMI 1331:16 Henry Foulis (1635–1669), a Yorkshire man and Oxonian of Queen’s College (B.A., 1657; M.A. 1659), over the years became both a royalist and an Anglican. In his preface (dated 1666) of this posthumous History, which manifests his hostility to Rome, he specifies a number of over-nice verbal distinctions, then turns “Don Quixot” into a derisive adjectival phrase in order to make a point about contemporary “Schoolmen.” He writes: And so nothing need be said against such childish inventions, being nothing to the true and real designe of the positive Doctrine of King deposing, which is the thing we treat of, without any idle evasion: A knack or knavery, onely fit for those Romantick or Melancholy Don Quixot Virtuosi, who love to be call’d Schoolmen, whose Trade is onely to rack Divinity and Reason, and to smother up Truth with insignificant distinctions. (sig. b4r )

Other editions: F1640A (1671), sig. b4r ; F1640B (1671), sig. b4r ; F1641 (1681), sig. b4r .

308

cervantes in seventeenth-century england

526. Glanvill, Joseph, A Præfatory Answer to Mr. Henry Stubbe. G821. UMI 70:13

A prominent Church of England clergyman, Glanvill (1636–1680), at this point rector of the Abbey Church at Bath, had some years earlier published The Vanity of Dogmatizing (1661) and before long would attack nonconformists in The Zealous and Impartial Protestant (1681). He was an early member of the Royal Society, and his most notable publication relating to that association was Plus Ultra, or, The Progress and Advancement of Knowledge Since the Days of Aristotle (1668). This work, something of a complement to Thomas Sprat’s History of the Royal Society (1667), was an attempt to write a history of science and in the process champion the “experimental philosophy which is profest by the Royal Society.”2 As a result, Glanvill found himself involved in a pamphleteering squabble with the Aristotelian Henry Stubbe (or Stubbes), who published Legends No Histories, or, A Specimen of Some Animadversions upon the History of the Royal Society . . . Together with the ‘Plus ultra’ Reduced to a ‘Non Plus’ (1670). Glanvill’s response was his Præfatory Answer, the title page of which promises that his work will reveal Stubbe’s malignity, hypocrisy, falsehood, and impertinency. The preface begins: When I am ask’t the reason of M. Stubbe’ s fierceness against the ROYAL SOCIETY, and the favourers of that Institution, my usual answer is, There are creatures that will bark against those who never hurt or provoked them, and ’tis in vain to ask Why. (sig. A2r )

Nevertheless, himself in an attack mode, Glanvill goes on to state that those various gentlemen who have been attacked by his critic scorn to be so dirty, impertinent, and so like M. Stubbe, as to meddle with any passages of his Life. . . . But he is resolved, he saith, to prevent the Virtuosi, and to write his Life himself; and ’tis like the Comical wits will thank him for a story that would out-do Guzman and Don Quixot. But, alas! they are not to expect it; he is too modest to do himself right. (sig. A3r )

The linkage of Don Quixote with Alemán’s popular picaresque Guzmán de Alfarache (which by this time had appeared in English half a dozen times) seems to have been fairly common. 527. Lloyd, David, The Legend of Captaine Jones. L2633. UMI 1096:12 For a reference to brave Captain Jones’s desire to take on the bravest Spanish warriors, even Don Quixote, see STC 16614 (1631); in this edition, the passage is found on pp. 9–10. 2

These works constitute part of the title of his work titled Philosophia pia (1671). Cited here from William E. Burns, Oxford DNB, 22:416–19.

1671

309

For a commendatory poem in which there is a reference to Don Quixote killing a winged giant, perhaps an allusion to his tilting against a windmill in DQ 1.8, see L2631 (1656); in this edition the passage is found on sig. B7v . Another edition in 1671: L2634 (UMI 1096: 13, identified as L2633a), sig. B7v , pp. 9–10. 528. Newcastle, Margaret Cavendish, Natures Pictures Drawn by Fancies Pencil to the Life. N856. UMI 611:10 An allusion to DQ 1.6 is to be found here in “Heavens Library, Which Is Fame’s Palace Purged from Errors and Vices.” Jove is culling all romances with one exception (see N855, 1656); in this edition, the passage is found in the second book of “Feigned Stories in Prose,” p. 714. 529. Parker, Samuel, A Defence and Continuation of the Ecclesiastical Politie: By Way of a Letter to a Friend in London. Together with a Letter from the Author of the Friendly Debate. P457. UMI 923:14 Named Bishop of Oxford about two years before his death, Parker (1640–1688) spent much of his career writing on ecclesiastical and political subjects. Named president of Magdalen College (1687), he admitted numerous Roman Catholic fellows by royal mandate, but when James II commanded him to admit nine more, Parker’s patience was spent, and he is said to have died in a fit of anger. Some years previously, because of his tendency toward reasonable toleration, Parker’s Ecclesiastical Politie (1670) had occasioned considerable discussion. Here in the preface of his Defence and Continuation of that work, he responds to John Owen, a nonconformist preacher and theologian who had attacked him in Truth and Innocence Vindicated (1669), q.v. Parker writes: [A]nd as much Reluctancy as he counterfeits to this Heroick Trade, it had been as easie to cure the Knight of the Mancha of his Errantry, as ’tis him of his scribbling folly; and he cannot encounter an honest man upon the high way, but his fansie immediately transforms him into a Gyant or a Necromancer. (sig. A7v )

In chapter 6, Parker refers to Don Quixote’s helmet (an ill-gotten barber’s basin), an allusion to DQ 1.21: [A]nd thus by this dancing and capering humour, ’tis an easie matter to perpetuate all the Controversies in the World, how plainly so ever determinable to the coming of Elias:3 and after this rate shall the Barbers Bason remain Mambrino’s Helmet, and the Asses Pannel a Furniture for the Great Horse till the Day of Judgment. However, this advantage I have gain’d, that this Principle is yielded up as to the general and unlimited Import of the words. (pp. 479–80)

In chapter 7, section 1, Parker mentions Sancho Panza and alludes to DQ 1.8: And the mistakes he invents are so vulgar and ordinary, that they might have been contrived by Sancho his Scribe. But thus it happens, that the greatest 3

See Matthew 17:13.

310

cervantes in seventeenth-century england

Flowers of Chivalry have in their declining Age flag’d and wither’d; and their last Performances have faln so much short of the Miracles of their first Atchievments, that their new Conquests have not so much increas’t the number, as eclips’t the glory of the old. And that matchless Wight, that in his youthful days scorn’d to accept of any Adventures unless upon Wind-mills, Painim 4 Giants, and Infernal Necromancers; yet when Age had slaked the rage of his blood and folly, was content to spend his last Exploits upon Goat-herds, Lackeys, and Plow-men of his own Parish. And such pitiful attempts are our Authors Remarks upon the passages of this Chapter. (pp. 564–5)

In chapter 7, section 5, there are references to Don Quixote’s books of chivalry: [T]hus they use the Records of sacred Story, just as Don Quixot used his Books of Chivalry, in accommodating the Exploits of the Knights of yore to his own ridiculous Adventures: And here lay the folly of his Errantry, in chewing the cud upon the Prodigies of old Romances. And I am sure he had as wise and reasonable a ground for his folly, when he besotted himself with a conceit of vying Adventures with the famous Knight Valdovinos,5 as they had for their faith when they expected to equal the successes of Joshuah. (pp. 598–9)

530. Philipps, Fabian, Regale necessarium: or, The Legality, Reason and Necessity of the Rights and Priviledges Justly Claimed by the Kings Servants, and Which Ought to Be Allowed unto Them. P2016. UMI 1337:35 An assiduous reader and writer, Philipps (1601–1690) studied for a time at one of the inns of chancery and then at the Middle Temple. 6 Though subsequently he studied also at the Bodleian in Oxford, he never graduated from the university. In 1641, however, well along in life, he became a filazer7 serving not only in London and Middlesex but also in Cambridgeshire and Huntingdonshire. Considering the subject of his Regale necessarium, it is probably significant that the emoluments of his post proved to be a problem. Philipps dedicated this book to both James, Duke of Ormonde, one of the lords of the Privy Council and “Lord Steward of his Majesties most Honorable Houshold,” and Edward, Earl of Manchester, also of the Privy Council and “Lord Chamberlain of his Majesties most Honourable Houshold ” (sig. a2r ). He addresses both because he wants them to know of “the dayly complaints now more than ever made against the Legal and just Priviledges of the Kings Servants, the affronts offered to the Majesty and supreme Authority of the King by Arresting and Imprisoning them without leave first obteyned of the Lord Chamberlain” (sig. a2v ). 4 5 6 7

Painim: i.e. paynim, heathen or pagan. Don Quixote believes for a while that he is Valdovinos, a character from Spain’s medieval ballad tradition (DQ 1.5). All the biographical information cited here on Philipps is from Nicholas Jagger, Oxford DNB, 44:39–40. Filazer: an officer of the court who files writs and issues processes on them (OED).

1671

311

In a passage protesting against various things that presumably advance by pretending to be what they are not, he writes of “a Town named a City, when it is not: a Church said to be in one Diocess or County, when it is in another,” and a man who refuses to face facts when he has been “disenabled, or ungentleman’d by reason of his Fathers attainder of Treason” (p. 204). Philipps writes: [It would be a great] affront to truth, and contradiction to reason . . . for a man of 20 l. per annum Free Land, to believe himself to be a Knight, and his Wife a Lady, because when according to Statute made in the first year of the Reign of King Edward the Second, he was summoned to take the Order of Knighthood upon him, he compounded and paid a Fine to escape that dignity, which was too big for his quality or estate; and as great a madness and ridiculous, as that of Don Quixot, or our late Countryman Parsons the Taylor, fancying himself to be the Romance Knight of the Sun.8 (p. 205)

531. Skinner, Stephen, Etymologicon linguæ Anglicanæ. S3947. UMI 779:11

Both a philologist and a physician (M.D. 1653, Heidelberg and Oxford), Skinner (1623–1667) left England and traveled widely after Civil War broke out, but eventually settled down to practice medicine in Lincoln. After his death a number of his philological works in manuscript that survived him were edited by Thomas Henshaw and published in London 1671 with the title Etymologicon linguæ Anglicanæ.9 Here, under the heading “Etymologicon Onomasticon,” Skinner cryptically traces the etymology of Don Quixot’s name: Quixot, Don Quixot, Heros ille Ironicus Hispanus, ab Hisp. Quixotes terces vel Quixotes, Femorale Ferrerum, seu Armatura Femoris. (sig. Sssss1r )

One possible translation of this is: Quixot, Don Quixot: that hero, the ironic Spaniard, from Spanish “Quixotes terces” or “Quixotes,” meaning “strong, rigid thigh piece” or “armor for the thigh”.

The word “quijote” does, indeed, refer to the metal guard that covers the front and sides of the upper leg. Moreover, the fact that it reaches upward toward the genitals has invited erotic interpretations in some quarters. Complicating the discussion is the fact that “quijote” is also the name of a lightweight outer garment made for the upper body and said to be worn by Moors.10 See also Stephen Skinner, Gazophylacium Anglicanum: G426 (1689), sig. Hh2r ; A New English Dictionary, N637A (1691), sig. Hh2r . 8 9 10

Don Quixote himself also mentions the Knight of the Sun (DQ 1.21). Bertha Porter, and rev. Michael Bevan, Oxford DNB, 50:869. See Carroll B. Johnson, “Dressing Don Quixote: of Quixotes and Quixotes,” Cervantes 24 (2004): 11–21.

312

cervantes in seventeenth-century england

532. Stillingfleet, Edward, A Discourse Concerning the Idolatry Practised in the Church of Rome. S5577. UMI 1390:15 Stillingfleet (1635–1699), who eventually would be Dean of St. Paul’s (1678) and then Bishop of Worcester (1689), was both a well-known London preacher and a chaplain to Charles II. In his work at hand, the fourth chapter (“Of the Fanaticism of the Roman Church”) has a section on the Jesuits and their founder, wherein Stillingfleet compares the conversion of Ignatius Loyola to the epiphany of Don Quixote (DQ 1.1). He writes: The first remarkable thing in him was, that he was converted by reading the Legends of the Saints, as Don Quixot began his Errantry by reading the old Romances: I wonder how Ignatius did [manage] to read them, for Maffeius describes him, as one that had hardly ever learnt his letters. . . .11 But his Country-man was not more moved with the adventures of former Knights, than Ignatius was with the stories of St. Dominick and St. Francis; for these, Maffeius tells us, did particularly work upon him, in so much that before he took up a firm resolution of Religious Errantry, he would put cases to himself of the difficult Adventures of those two illustrious Heroes. (pp. 309–10)

Another edition in 1671: S5578 (UMI 2198: 8), pp. 268–9. Other editions: S5578a (1672), pp. 268–9; S5579 (1672), pp. 268–9; S5580 (1676), p. 305. 533. Wilson, John, The Cheats. A Comedy. W2917. UMI 1452:30 For a reference to the burning of Don Quixote’s library (DQ 1.6), and a passage in which Wilson satirizes the language of Rosicrucians and calls the Rosicrucian philosophy “Quixotism,” see W2916 (1664); in this edition, the passages are found on sigs. A2r and F1r . 534. Winstanley, William, Poor Robin, 1671. An Almanack after a New Fashion. A2190. UMI 1494:20 Under the heading “Observations for January,” “Don Quixot” is celebrated on 3 January (sig. A5r ). Under the heading “Observations for February,” “Sancho Panca” is celebrated on 13 February (sig. A6r ). In a diagram for “The Ass-trological Scheme,” “Don Quixot” is featured in the sixth house (sig. C6r ).

11

Giovanni Pietro Maffei, De vita et moribus Ignatii Loiolae (Rome, 1585).

@

1672

#

535. Allestree, Richard, The Gentlemans Calling. A1122. UMI 755:7 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 536. Ashby, Richard, Some General Observations upon Dr. Stillingfleet’s Book and Way of Wrighting. With a Vindication of St. Ignatius Loyola and His Followers the Jesuits. In Four Letters. A3938A. UMI 303:11 (as A3942) Also known as Richard Thimelby, Ashby (1640–1680) was the Jesuit rector of St. Omer’s College (in France, near Calais). Here in Some General Observations he takes issue with Edward Stillingfleet’s comparison of Loyola with Don Quixote and mentions the latter’s library (DQ 1.6): Tell me, Sir, I pray what do you see in this conversion, that may not become a Saint? . . . was not St. Austin himself moved with the like suddain conversion of two Courtiers, upon reading St. Antony the Ermits life, written by St. Athanasius? yet the Dr. sticks not here to compare him to Don Quixot, and the Books he read to the old Romances. (p. 12; see also p. 14)

Stillingfleet’s comparison is found in A Discourse Concerning the Idolatry Practised in the Church of Rome, S5579 (1672), q.v. 537. A[tkins], M[aurice], Cataplus: or, Æneas His Descent to Hell. A17. UMI 45:10; UMI 1877:16 (as V623) “Printed for Maurice Atkins” and equipped with a dedication signed “M. A.,” this “mock poem” is thought to be the handiwork of Atkins himself. Appearing twice this year in somewhat differing forms, the later version is dedicated to Nathaniel Brent, a friend of the author’s from Gray’s Inn. Learned but rough-and-ready, the poem extends more or less iambically for over two thousand lines, and a little over halfway through its course names Don Quixote, apparently referring to his long-windedness. Having recently named a variety of somewhat earlier heroes such as Bevis and Amadis, Robin Hood and Little John, it turns next to “Grecian Dons” such as Achilles, Ajax, and Ulysses, and then proceeds thus: There was a troop of Grecian Dons, Achilles, and his Myrmidons, . . . . . As soon’s they saw Aeneas coming They took their heels and fell a running

314

cervantes in seventeenth-century england Like chaff (as they say) before the wind, Or ship with Don-quixot behind.

(p. 54)

A footnote at the third line here cites “Ut videre virum ——,” which is Aeneid 6.490. Another edition in 1672: A17a (UMI 1877:16, as V623), p. 54. 538. Canes, John Vincent, ‘˘ Í·ËÔÎÈ͢ [T¯o katholik¯o] Stillingfleeton: or, An Account Given to a Catholick Friend. (Bruges). C433. UMI 911:4 A Franciscan friar, Canes (d. 1672) alludes to Don Quixote in “Fanaticism,” the fourth part of this work, during a discussion of Edward Stillingfleet’s commentary on St. Ignatius Loyola’s role in founding the Society of Jesus: [H]is gathering Disciples and indeavour to have his rule confirmed by the Supreme Bishop, are all made to sound conformably either to Don Quixots Romance, or the esteemed madness of Quakers. (p. 77, 4th pagination)

This part is not found in Canes’s An Account of Dr. Still.’s [sic] Late Book, C426 (1672). 539. Cervantes Saavedra, Miguel de, The Second Part of the History of the Valorous and Witty-Knight-Errant; Don Quixote, of the Mancha. C1777. UMI 652:2 As in earlier editions, the translator’s dedication in the first part of this edition is signed, “Thomas Shelton.” The second part, though usually assigned to Shelton, was very likely not translated by him; Leonard Digges, James Mabbe, and other translators have been suggested as alternate candidates.1 For Edward Blount’s dedicatory epistle to George Villiers, Marquess of Buckingham, see STC 4917 (1620); in this edition, the passage is found on sig. Mm3r . 540. Eachard, John, The Grounds & Occasions of the Contempt of the Clergy and Religion Enquired Into. The Eighth Edition. E52. UMI 1005:9

For a reference to “the great Don of Mancha,” a work “beyond all controversy . . . sufficiently approved of ” and an inspiration for witty conversation, see E50 (1670); in this edition, the passage is found on pp. 44–6. Another edition in 1672: The Grounds and Occasions of the Contempt of the Clergy, E56A (UMI 2389:2), pp. 44–6. 541. Ellis, Clement, The Gentile Sinner: or, England’s Brave Gentleman. E560. UMI 1355:26 For a reference to the popularity of Don Quixote and its influence on the beau monde, see E556 (1660); in this edition, the passage is found on p. 32. Another edition in 1672: E560A (UMI 2788:15), same pagination. 1

See headnotes herein to Don Quixote under 1612 and 1620.

1672

315

542. The French Rogue. Being a Pleasant History of His Life and Fortune. F2196b. UMI 1653:21 and UMI 143:7 (as F885) Richard Head’s English Rogue, which enjoyed a fifth edition in 1671, followed some years after James Mabbe’s translation from Alemán called The Rogue, which itself had appeared in six volumes between 1622 and 1656. And The French Rogue here, anonymous but conceivably also by Head, would in turn be succeeded by Dutch and Irish rogues in 1683 and 1690 (or perhaps 1691), respectively. Though their various authors made some attempts to suggest national flavoring, the writer of The French Rogue nevertheless recalls Cervantes. In chapter 25, headed “He robs a young Gallant upon the Road,” the unknown author has the gallant compare the rogue to Don Quixote and calls to mind the windmill episode (DQ 1.8): Then did he begin afresh to boast, as if he desired nothing more then that they would come: nay, had his Words been as pernitious as the Wounds he talked of, he had already slain all the Robbers in the World. I thought there never could be such another, But now I find Don Quixote had a Brother. He spoke Gigantick words at such a rate, As though the wind had turn’d his windmil-pate.

(p. 167)

Another edition: F2196c (1694), p. 167. 543. Huet, Pierre-Daniel, A Treatise of Romances and Their Original. H3301. UMI 1125:10 This Treatise is an anonymous translation of Traite de l’origine des romans (1670) by Pierre-Daniel Huet (1630–1721), a notable French theologian who served, successively, as Bishop of both Soissons and Avranches. In a section of the work focusing on the romances of Spain, Huet refers to both Cervantes and Don Quixote, noting in particular the contents and disposal of Don Quixote’s library (DQ 1.6–7): Their Romances are much later, and the ancientest of them are of nothing so old a date as our Sir Tristrams and Lancelots. For some Centuries of years Miguel de Cervante [sic], one of the best wits Spain has produced, made a fine and judicious Critique in his Don Quixot; and hardly could the Curate of the Marcha [sic], and Maistre Nicolas the Barber, find in so vast a number six [Spanish romances] which were worthy to be preserved; the rest are delivered over to the secular arm of the old Wife, to be put in the fire. . . . He also gives his censure upon the Romances in Verse, and other Poesies which were found in the Library of Don Quixot; but this is beside our Subject. (pp. 85–6)

316

cervantes in seventeenth-century england

544. Marvell, Andrew, The Rehearsal Transpros’d: or, Animadversions upon a Late Book [by Samuel Parker], Intituled, A Preface Shewing What Grounds There Are of Fears and Jealousies of Popery [Part 1]. M878A. UMI 1036:20 (as M878)

Valued now as both a fine poet and a keen satirist, Marvell (1621–1678) was probably known best in his own day for writing The Rehearsal Transpros’d. He drew this title from a farcical play called The Rehearsal by George Villiers, second Duke of Buckingham, and for good measure he borrowed the name “Mr. Bayes” for a character which in Villiers’s play was originally a satirization of Sir Robert Howard, but later revised to target John Dryden. Marvell’s target, however, is the very visible Church of England cleric Samuel Parker (1640–1688), one of the time’s outspoken foes of religious toleration. In particular, Marvell is concerned with Parker’s preface to a posthumous edition of Bishop John Bramhall’s Vindication of Himself and the Episcopal Clergy from the Presbyterian Charge of Popery (1672). Of specific interest here, Marvell’s “Animadversions upon the Preface to Bishop Bramhall’s Vindication” mentions Don Quixote, Sancho’s governance of an island, and the business of Mambrino’s helmet: But is it not a great pity to see a man in the flower of his age, and the vigor of his studies, to fall into such a distraction, That his head runs upon nothing but Romane Empire and Ecclesiastical Policy? This happens by his growing too early acquainted with Don Quixot, and reading the Bible too late: so that the first impressions being most strong, and mixing with the last, as more novel, have made such a medly in his brain-pan that he is become a mad Priest, which of all the sorts is the most incurable. Hence it is that you shall hear him anon instructing Princes, like Sancho, how to govern his Island: as he is busied at present in vanquishing the Calvinists of Germany and Geneva. Had he no Friends to have given him good counsel before his Understanding were quite unsettled? or if there were none near, why did not men call in the neighbours and send for the Parson of the Parish to perswade with him in time, but let it run on thus till he is fit for nothing but Bedlam, or Hogsdon?2 However though it be a particular damage, it may tend to a generall advantage: and young students will I hope by his example learn to beware henceforward of overweening Presumption and preposterous Ambition. For this Gentleman, as I have heard, after he had read Don Quixot and the Bible, besides such School-Books as were necessary for his age, was sent early to the University: and there studied hard, and in a short time became a competent Rhetorician, and no ill Disputant. (pp. 60–2)

It is in a later comment on Mr. Bayes’ style that Marvell alludes to the barber’s basin and Mambrino’s helmet (DQ 1.21) and to Don Quixote’s equipage and tilting at a windmill (DQ 1.8): 2

Bedlam, or Hogsdon: Bedlam was, of course, London’s madhouse, and Hogsdon (i.e., Hoxton), a village north of London, was unappealingly working class. Ben Jonson had long since had his Wellbred write to Edward Knowell: “Do not conceive that antipathy between us and Hoxton, as was between Jews and hogs-flesh” (Every Man in His Humour, 1.2.66–7).

1672

317

After this I walked a great way through bushes and brambles before I could find another Flower: but then I met with two upon one stalk. . . . This puts me in mind of another expression of our Authors alluding too [sic] this way. ’Tis an easie matter by this dancing and capering humour to perpetuate all the Controversies of the world, how plainly soever determinable, to the coming of Elias:3 and after this rate shall the Barbers bason remain Mambrino’s helmet; and the Asses Pannel a furniture for the Great Horse, till the day of Judgment. (pp. 196–7) Here it is that after so great an excess of Wit, he thinks fit to take a Julep and resettle his Brain, and the Government. He grows as serious as ’tis possible for a madman, and pretends to sum up the whole state of the Controversie with the Nonconformists. . . . Therefore I take my self the less concerned, to fight with a Wind-mill like Don Quixote. . . . (pp. 205–6) Now Mr. Bayes . . . in your first Chapter of your Second Book, beside what you do alwaies in an hundred places when you are at a loss, you have spent almost an hundred pages upon a Character of the Fanatick deportment toward all Adversaries. And then on the other side, you have so ingrossed and brought up all the ammunition of Railing, search’d every corner in the Bible, and Don Quixot for Powder, that you thought, not unreasonably, that there was not one shot left for a Fanatick. But truth, you see, cannot want words: and she will laugh too sometimes when she speakes, and rather than all fail too, be serious. (pp. 261–2) [Y]our Superiours had forgot that there was any such thing in the Nation as a Popish Recusant, though Polemical and Controversial Divinity had for so long been hung up in the Halls, like the rusty obsolete Armour of our Ancestors, for monuments of Antiquity; and for derision rather than service; all on a sudden (as if the 15th of March had been the 5th of November 4 ) happy was he that could climb up first to get down one of the old Cuirasses, or an Habergeon that had been worn in the dayes of Queen Elizabeth. Great variety there was, and an heavy doo [sic]. Some clapp’d it on all rusty as it was, others fell of oyling and furbishing their armour: Some piss’d in their Barrels, others spit in their pans, to scowr them. Here you might see one put on his Helmet the wrong way: there one buckle on a Back in place of a Breast. Some by mistake catched up a Socinian or Arminian Argument, and some a Popish to fight a Papist. Here a Dwarf lost in the accoutrements of a Giant: there a Don-Quixot in an equipage of differing pieces, and several Parishes. Never was there such Incongruity and Nonconformity in their furniture. (pp. 268–70)

Other editions and issues in 1672: M878, pp. 60–2, 196–7, 205–6, 261–2, 268–70; M879 (UMI 283:6 and 324:9), pp. 60–2, 196–7, 205–6, 261–2, 268–70; M879A, pp. 60–2, 196–7, 205–6, 261–2, 268–70; M880 (UMI 1798:8), pp. 60– 2, 196–7, 205–6, 261–2, 268–70. Other editions: M881aA (1673), pp. 60–2, 196–7, 205–6, 261–2, 268–70; M881A (1673), pp. 60–2, 196–7, 205–6, 250, 257–8. 3 4

A complex matter, but see Matthew 17:13. The Ides of March, fatal for Julius Caesar, and Guy Fawkes day, nearly fatal for James I.

318

cervantes in seventeenth-century england

545. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3444. UMI 1429:1 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on pp. 349–50. 546. Ramesey, William, The Gentlemans Companion: or, A Character of True Nobility, and Gentility. R206. UMI 367:5 The son of David Ramesey (or Ramsay), the clockmaker to both James I and Charles I, William Ramesey (fl. 1645–1675 or 1676), an astrologer and M.D. (Montpellier and Cambridge), was physician in ordinary to Charles II, hence himself something of a “Gentlemans Companion.” He produced books both astrological and medical, and in his Gentlemans Companion turned to providing gentlemen with extensive advice on deportment. Frederick James Furnivall5 has pointed out that here, in a section called “Exercises within Doors,” Ramesey discourages young men from spending “all their Life in gameing, playing, and fooling away their time” (p. 126). He then commends dancing, fencing, and tennis and names the books in which a young man “may reade all that is requisite” (p. 127). In the passage cited here, from a section called “Rest and Exercise,” he observes that “A few good Books is better than a Library, and a main part of learning.” Among subjects he recommends for reading are: [O]ld Sr. Jeffery Chaucer, Ben. Johnson, Shakespear, Spencer, Beaumont and Fletcher, Dryden, and what other Playes from time to time you find best Penn’d; And for a Diversion, you may read Hudebras [sic], and Don Quixot, and Quevedo 6 for prose; As also for General Readings, Burton’s Melancholy, and our Famous Selden his works. 7 (p. 129)

Another edition: R207 (1676), pp. 132–3. 547. Rust, George, A Funeral Sermon Preached at the Obsequies of the Right Reverend Father in God Jeremy Lord Bishop of Down: Who Deceased at Lisburne August 13th 1667. R2364. UMI 1389:12 For a reference in the sermon preached at the funeral of Jeremy Taylor, in which Bishop Rust says Taylor thought academic nit-picking was comparable to the madness of the knight of La Mancha, see R2362 (1668); in this edition, the passage is found on p. 77. 5 6

7

Frederick James Furnivall, Some 300 Fresh Allusions to Shakspere from 1594 to 1694 (London: Trübner, 1886), 231. By this date several English translations had been made of the works of Francisco de Quevedo y Villegas, but chances are good that Ramesey is thinking of John Davies’s Life and Adventures of Buscon (1657). John Selden (1584–1654) was a noted authority on legal history, antiquities, and orientalia. For Burton see supra, No. 52 (1621).

1672

319

548. S., W., The Poems of Ben. Johnson Junior. S203. UMI 1156:15 Both the authorship of this volume and the true range of the offspring of Ben Jonson (1572–1637) remain obscure. Whoever he was, the writer places Don Quixote among other knights errant in the opening lines of a long poem titled “ITER Bevoriale”: I sing no civil war, nor what did fall To Palmerine or Amadis de gaul [sic]: Prince Arthurs story shall no paper blot, Nor the conceited pranks of Don Quixot; If mad Orlando wild and furious be, What’s his divine Angellica to me? (p. 59; sig. E6r )

The poet is describing his hero when he is interrupted by his manservant, his Sancho Panza: His language was all Thunder, when he spake, Some thought the center of the earth did shake. My Sanco panco [sic], much dejected Reeve,8 Like a pale Image pulls me by the sleeve; Then whispers in mine ear, good Sir be wise, Do you not see those pistols in his eyes That shoot me dead? (pp. 61–2; sig. E7r–v )

549. Salmon, Thomas, A Vindication of an Essay to the Advancement of Musick, from Mr. Matthew Lock’s Observations. S419. UMI 226:4 By academic training a student of mathematics, Thomas Salmon (1648–1706), M.A. of Trinity College, Oxford, was also sufficiently adept and inventive in music to make a significant name for himself in musicology. In particular, his remarkable Essay to the Advancement of Musick (1672) was groundbreaking in its simplification of musical notation and its representation of the tones of the scale. Rather rudely aroused by the work, some established musicians objected both to Salmon’s revisionism and his manner of presenting it. One among them was Matthew Locke, who quickly lashed out in his Observations upon a Late Book, Entituled, An Essay to the Advancement of Musick (also 1672). Salmon quickly replied with the work at hand. Within its introductory matter he included a supportive address to himself that was dated from Norwich on 28 May 1672, and written by a certain “N.E.,” who begins thus: “Having received considerable advantages from your Musical Essay, &c, I was much concern’d to see so happy a Design so scurrilously traduced” (p. 1). Further on, N.E. observes that had Locke read such ancients as 8

Reeve: an overseer of workers.

320

cervantes in seventeenth-century england

that excellent Physician Celsus, or amongst the Moderns Paracelsus, 9 &c. he would have met with those that studied Musick upon the very account of curing Diseases; and that both consist of making and producing Harmony. He might have remembered (if he had ever known it) that the Ancients were so sensible of this, as to make the one God Apollo, Patron of both the Sciences. But alas! Don Quixot and Riblais [sic] have wrote nothing of the Subject and therefore I hope you will pardon the mistake. (pp. 12–13)

Presumably the reader is expected to perceive comedic lightness in both Don Quixote and the writings of François Rabelais and to infer that Locke’s usual reading matter is in the popular vein. 550. Stillingfleet, Edward, A Discourse Concerning the Idolatry Practised in the Church of Rome Wherein A Particular Account Is Given of the Fanaticisms and Divisions of That Church. Third edition. S5578a. UMI 751:42 For a passage in which Dr. Stillingfleet compares the conversion of Ignatius Loyola to the epiphany of Don Quixote, see S5577 (1671); in this edition, the passage is found on pp. 268–9. Another edition in 1672: S5579 (UMI 1558:4), same pagination. 551. Taylor, Jeremy, ∏ÌÈ·ıÙÔÚ [Eniautos]. A Course of Sermons. T332. UMI 1073:12, 1103:31 (as T309), 1389:12, 1214:13, 1215:1–2

Bishop George Rust’s Funeral Sermon Preached at the Obsequies of the Right Reverent Father in God Jeremy Lord Bishop of Down: Who Deceased at Lysburne August 13th 1667 is included in the enlarged fourth edition of Taylor’s Course of Sermons. For an allusion to the harmless madness of the Knight of La Mancha, see R2362 (1668); in this edition, the passage is found on p. 77 (2nd pagination). 552. A Vindication of the Clergy. V500CA. UMI 1149:6 (where it is identified as E65)

This work is sometimes erroneously attributed to John Eachard (1637–1697) but was in fact written in response to Eachard’s Grounds & Occasions of the Contempt of the Clergy and Religion (1670). In a passage about Eachard’s satiric strictures on English clergymen, the author begins with an allusion to Ben Jonson’s witless Sir Politic Would-be in Volpone, closes with a reference to jackpuddings “in the Pulpit or elsewhere,” and along the way takes note of Don Quixote: 9

Aulus Cornelius Celsus (first century a.d.), author of De medicina, was among the finest of Roman medical writers, and Theophrastus Bombast von Hohenheim (c.1490–1541), one of the most important physicians of his own day, became known as Paracelsus, apparently to suggest a relationship between the two.

1672

321

In the next place, (like some Sir Politick Would-be) he traduces our Terræsilius’s and Prævaricator’s10 not a little, in representing them as Nibblers at an ambiguous word, and Quibblers upon Lilly’s Poetry,11 or at best but Tossers of an Axiom out of Logick, with a Hocas Pocas, &c. whereas they oftentimes produce as good fancy, ingenious humours, lively action, well contriv’d Ironies, merry Fictions, mimical Gestures, and Burlesque Descriptions, as any I find in his little Letter, yea or the great Don of Mancha. In a word, this difficult Province being usually assigned to the choicest Wits, it is unreasonable to fancy they must needs prove Jack-puddings12 in the Pulpit or elsewhere. (p. 61)

Another edition: V500CB (1686), UMI 1685:25 (as E66), p. 61. 553. Winstanley, William, Poor Robin 1672. An Almanack after a New Fashion. A2191. UMI 1494:21 In “Observations on January,” “Don Quixot” is celebrated on 6 January (sig. A5r ), and in “Observations on February,” “Sancho Panca” is celebrated on 17 February (sig. A6r ). 554. The Wits: or, Sport upon Sport. W3219. UMI 2539:6 For a reference to Don Quixote and allusions to DQ 1.8 in The Humours of John Swabber, see Robert Cox’s Actaeon and Diana C6710 (1655); in this edition, the passage is found on p. 124. For borrowings from La Señora Cornelia, one of the stories in Cervantes’s Novelas ejemplares in “The Landlady,” see W3218 (1662).

10

11 12

Terræsilius and Prævaricator: at Cambridge an orator chosen to make “a humorous or satirical speech at the degree ceremony” held the title of “prevaricator.” At Oxford, the analogous speaker was called the “terræ filius” (OED). Probably John Lyly (1554–1606), who wrote verse but is best known for his complex and long-outof-fashion prose. Jack-puddings: clowns or buffoons (OED).

@

1673

#

555. Allestree, Richard, The Gentlemans Calling. A1123. UMI 755:8 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 556. B., T. (?), An Answer to Two Letters of T. B. B4213. UMI 759:29 Whoever the author of this “answer” may have been, he responds here to two of the five letters printed at the end of Mr. Hobbs’s State of Nature Considered, a work by John Eachard (1637–1697). T. B. writes: I will inquire a little into the great Design of your Letter, which is to magnifie your own way of talking (or Wit as you call it) and vilifie all others, and then bid you good night. Not that I would be thought to set up for a Wit, of all the Trades in Town; but because I find my self bound by the Laws of Errantry (like some Ralph or Sancho) to follow my Leader into any, even the most Magnificently foolish Adventures. (pp. 35–6)

The “Ralph” to whom he refers is, of course, Ralpho, the sectarian squire of Samuel Butler’s eponymous Presbyterian hero of Hudibras (1663 et seq.). In a later passage, the writer scolds his correspondent for having left out the very life of a jest and claims that had he been a little more careful, he might have been considered witty: [Y]ou might have gone not only for the Boccaline, but the very Quixot of the Age. (p. 58)

“Boccaline,” to whom the author dedicates this work, is Triano Boccalini (1556–1613), best known for his humorous political satire Ragguagli di Parnaso (1612–13). 557. Burnet, Gilbert, A Vindication of the Authority, Constitution, and Laws of the Church and State of Scotland. B5938. UMI 1032:1 Ultimately Bishop of Salisbury, Burnet (1643–1715) was a prolific and prominent writer who is now best remembered for the History of his own time. His relatively early Vindication, cited here, was published in Glasgow and identifies him on its title page as a professor of theology in Glasgow. The work is organized in four “conferences” in which six “collocutors” participate. The fourth of these conferences “examines the origine, lawfulness, and usefulness of Episcopal Government” and concludes “with an account of the Primitive Constitution and Government of the Churches that were first gathered and planted ” (sig. B1r ). Here

1673

323

Polyhister (the historian among the participants) links Don Quixote and Amadis de Gaul with what he takes to be the errant beliefs of Isotimus (a Presbyterian): Pray, Sir, are you in earnest, when you tell me that for 140 years after CHRIST, there is no vestige of Prelacy on record? . . . How came the Eclipse of the Church to a total Obscuration in one minute? . . . And how came it, that all the Churches did so unanimously concur in the defection, and not so much as two witnesses appeared to fight against this Beast? Let me tell you freely, there is not a ravery1 in Don Quixot’s Adventures, or Amadis de Gaul, but is liker to prevail on my belief, than this Romance. (pp. 313–14)

558. Daffy, Anthony, Elixir salutis: The Choise Drink of Health. D105B. UMI 2589:16 Immediately after naming the “elixir salutis,” the daft title page of this work goes on to describe it, then place it in a contentious context. The elixir is: the choice drink of health, or, Health-bringing Drink. Being A Famous Cordial Drink, found out by the Providence of the Almighty, and for above eighteen years, Experienced by my self and divers persons. . . . [It is] a most excellent preservative of man-kind. A SECRET Farr beyond any Medicament yet known, and is found so agreeable to Nature, that it effects all its Operations, as Nature would have it. . . . Never Published by any but by Me ANTHONY DAFFY, Student in Physick.

Addressing himself to the “Courteous Reader” in the ensuing epistle, Daffy excoriates Thomas Hinde, a former patient, and in the process compares him with Don Quixote: Having by the Providence of the Almighty obtained the True Composition, together with the Secret of Right preparing and making this famous Elixir, or Choise Drink of Health; and having for twenty years last, downwards to this time, found the same (to admiration) successful in the perfect cure of most of the Torturing and painful Distempers and Maladies incident to Humane Bodies; as will be abundantly testified by sundry credible Persons in this City, and else where . . . my Elixir was about two years since found successful under God in the perfect cure of one Thomas Hinde, most sadly afflicted with the Stone, and other Distempers, after five years use of the best Means he could procure, either from Learned Physicians in this City, or the Wells; as by the said Hind ’s Certificate under his hand, and other testimonies, may fully appear. He, the said Hinde, soon after his Cure, did by subtle suggestions of great Travails by him pretendedly undertaken, and crafty Insinuations into my favour, obtain from me a Direction unto some (though but few of ) my Elixir’s Ingredients, so far onely as to prevent his Relapse into his then late Distempers; or to recover him, if relapsed by change of Air, alteration of Climates, or otherwise: which said Hinde having thus (as he thought) accomplished his Ends, did soon after (like a jugling Don Quixot) by the Letters T. H. G. midwife by stealth, a Libellous Pamphlet, crawling into the world, yet keeping it self in dark Corners, as a Moon-blind Batt, demurely 1

Ravery: an example of raving or madness.

324

cervantes in seventeenth-century england

counterfeiting my Elixir, under the varnished and specious Appellation of his Famous and Wonderful NEVER-FAILING CORDIAL DRINK. . . . (title page verso)

Daffy’s competitor, referring to himself as a “wounded hind,” did indeed brag of his travels as well as his several ingredients “that none in England doth know off ” in Under God. Humbly Desiring His Blessing to This Famous and Wonderful Never Failing Cordial Drink of the World, H2062 (1673), a single, print-packed sheet. Other editions: D105A (1673), UMI 2704:25, a different epistle, no Don Quixote; D105B (1673), UMI 2589:16, title page verso; D105 (1674), UMI 888:15, no epistle; D106 (1674), UMI 888:15, no epistle; D106B (1675), UMI 2531:3, title page verso; D107 (1675?), UMI 888:16, a different work, no epistle; D106BA (1690?), not yet filmed by UMI; D106C (1693), UMI 2531:4, no epistle; D104B (1698?), UMI 2866:5, a different work, no epistle; D106D (1698), UMI 2804:8, title page verso; D104C (1700), UMI 2531:2, a different work, no epistle; D106E (1700), not yet filmed by UMI; D107A (1700?), UMI 2479:12, a different work, no epistle. 559. D’Avenant, William, The Works of S r William Davenant K t . D320. UMI 207:9 Within these Works, as Knowles notes (no. 23), Poems on Several Occasions, Never Before Printed has a separate title page dated 1672 (but pagination is continuous; hence, the placement here in 1673). In “A Ballad. The Wares Put to Sale Which Were Lately Taken in a Spanish Ship,” there is a reference to Don Quixote’s headpiece: The Market-Bell Rings, come away; Furnish your selves for all the yeare, They pay not least that longest stay, Expence of time should make things deare; Come away, come away, make use of the Sun, For when it is darke I’le Cheat every one. . . . . . . . An old Headpiece, batter’d with shot The which as one of Mancla [sic] sweares, Was sometimes worn by Don Quixot However now tis stolen from’s Heirs; Come away, &c. (pp. 337–9, 1st pagination)

For echoes of characters and situations from Don Quixote, see D’Avenant’s The Cruell Brother, STC 6302 (1630); in this collection, the piece is found on pp. 463–86 (2nd pagination).

1673

325

560. Don Quixot Redivivus Encountring a Barns-Door: or, An Exact Narrative of the Rare Exploits of Captaine Braines in a Dangerous Expedition Against a Certain Barn. D1845a. UMI 1758:8 This undated, anonymous, 31-page pamphlet is a mock-heroic account of an incident that apparently took place in Andover, Hampshire, on 7 September 1670. In any case, it describes Captain Braine’s expedition in “a Town on the other Side of the River Arne in the Land of Little Ease, and Less Justice, under the command of Tom Coxcomb Signifier, an Over-grown Tapster, and Principle-Member of the Disloyal Society of the Vitiosi,2 and of the Corruption of the said Town, and Sometime a Justler of the Peace there” (from the title page). In Section 11 there is a reference to Don Quixote’s attack on a windmill (DQ 1.8): Tantara, Tantara, triumphantly they march with Drums beating and Colours flying; Tom W. and his Captain looking as bigg as Don Quixot, ready to charge all the Wind-mills in the Land, commanding his Souldiers as they marched to fire upon the Children in the street for calling the Doegs [sic] by the names of Informers, roaring give fire upon them, shoot them, kill them, and rare work there had been, had the Souldiers been altogether as brain-sick, and mad as these two Commanders in chief. (p. 8)

561. G., J., The Memoires of Mary Carleton, Commonly Stiled the German Princess. G35B. UMI 1593:24 This account of the life and death of Mary Carleton (1642?–1673), one of the most colorful, peripatetic, and ingenious impostors of her day, places Don Quixote among other narrative types: At length she arrived at London, that little World of People, the Emporium and Metropolis of England, and the scene that she made choice of, wherein to act all her future Cheats and Impostures. Therefore I cannot pass by this Digression. Let the Proud Don boast no more of his Guzman, Quixot, or Lazarillo,3 nor the aery Monsieur of his Francion, or Du Vall,4 since here is a poor Kentish Girl (I dare not say Maid of Kent, as formerly) a frisking, fidling Canterbury Lass that hath out-done them all. (pp. 7–8)

On 22 January 1673 the over-reaching Canterbury lass was hanged at Tyburn. 2 3

4

Vitiosi: from the Latin vitiosus, corrupt, bad, vicious. Thus Don Quixote is sandwiched between two of the best-known Spanish picaresque novels: Alemán’s Guzmán de Alfarache (translated by Mabbe, 1622) and Lazarillo de Tormes (translated by Rowland, 1576?; earliest known copy, 1586, and more or less resuscitated in a continuation by Juan de Luna that was translated anonymously and first published in 1631). Here the writer turns to works with a French flavor: Charles Sorel’s Histoire comique de Francion (1622), first “Done into English by a Person of Honour” in 1655, and Walter Pope’s The Memoires of Monsieur Du Vall (1670), i.e., Claude Duval (1643–1670).

326

cervantes in seventeenth-century england

562. H., E., The Mock-Elogie on the Funeral of Mr. Caryl. H19b. UMI 1760:12

Joseph Caryl (1602–1673), whose obsequies are mocked here, was an Independent pastor who at various times served as a chaplain to Oliver Cromwell, a preacher to the House of Commons, and, probably not least important, as the official licenser of all pamphlets and books on divinity. His “gloriously solemnized” funeral on 25 February 1673 is said to have been notable for “an unparallel’d Concourse and Attendance of all Sorts and Sects of People.” According to the verses cited below, this “motley throng” (see Fig. 20) included such prominent men as the preachers William Kiffin and William Twisse (noted here earlier) and the Anabaptist Praise-God Barebones. In the poet’s mind it also triggered thoughts of John Milton (who had had run-ins with Caryl) and battles of the “Old Cause,” which he parallels here to those of Don Quixote. Bless me! What’s here? A motley-throng; Presbyters, Sectarists among; Quakers, with Kiffin and J .O. Ranters, with Praise-god Bare-bones too. . . . . . . Wild with his Gout too could hop thither To get new Cloak, for writing Verse, Pin’d, like a Coat of Arms, to th’ Herse: Like to those snivelling Elogies He made upon the Rebels, Twisse, Palmer next, Burroughes, Hill, Gouge, White, With Whitaker, who (Wild says) did fight As far as York, with Cavaleers, And Routed them, with Prayers and tears. Well fought Don Quixot: else Wild lyes: (I had it truly ’mongst his storyes;) Where, in Blasphemous Elogies, He praises Rebels to the skies, And Milton’s hackney-Pen out-vies, On their Urnes offering sacrifice. (broadside recto)

Beyond the belittling of Milton, presumably achieved here by the company he keeps, the slur to his writing is notable: “hackneyed” not only means trite and commonplace but also suggests writing for hire (a hackney is a horse kept for hire). 563. Head, Richard, The Floating Island: or, A New Discovery. H1253. UMI 72:13

A sometime bookseller, Head (1637?–1686?) was also a prolific and improvident hack writer who habitually lived on the edge. His Floating Island is a jocular sendup of discovery writings. In the passage at hand, some adventurers traveling

1673

327

20. Among a hodge-podge of far-out sectarian groups, the Ranters were antinomians who held that people might manifest salvation by violating God’s laws. Here the satirical title page of The Ranters Ranting depicts a gathering said to have occurred on the night of 1 November 1650 in Moor Lane (Giles Cripplegate, London) at the David and Harp. John Collins and John Shakespear were among those taken into custody for loud and lewd behavior, which included cursing and singing “vile and filthy songs to the tune of Psalms” (sig. A2r ). “Ram me, Dam me” was one of these musical “execrations” (sig. A2v ).

328

cervantes in seventeenth-century england

from Lambethana to Villa Franca, alias Ramallia,5 come to a place where they see a monstrous person with arms that continually wave circularly and cause the explorers to flee. From a safe distance, the narrator laments that they lack Don Quixote’s derring-do: Fear did so wing our flight, and the wind so largely contributed its assistance, that in a little time we found ourselves not in a condition to be harm’d or prejudiced by that Gigantic Scare-crow: had we had as much valour as there was in Don-Quixot, one assault would have prov’d him a meer airy flash. (p. 13; sig. C3r )

564. Hickeringill, Edmund, Gregory, Father-Greybeard, with His Vizard Off. H1808. UMI 983:37 A preacher, pamphleteer, and sometime soldier, Hickeringill (1631–1708) was variously a Baptist, Quaker, and Deist—and, in his late seventies, a convicted forger. The target of his work at hand is made clear by its subtitle: News from the Cabal in Some Reflexions upon a Late Pamphlet Entituled, The Rehearsal Transpros’d. The latter is Andrew Marvell’s wittily acerbic political satire decrying the government’s ecclesiastical policy. In the course of this response to Marvell, Hickeringill refers to Sancho Panza’s island, a subject that is introduced early in Don Quixote (1.7), mentioned occasionally thereafter, and eventually developed into a major theme. Hickeringill writes: I can scarce forbear smiling to myself to see how prettily he sets his face, and makes up his mouth, with such caution and gravity before he begins to read to Princes his Politick would-bees. 6 First, blaming the Ecclesiastical Politician, (he must not be forgotten) for offering that which was none of his Province, p. 61. Instructing Princes, like Sancho, how to govern his Island: And p. 206. He had put all Princes upon the Rack to stretch them to his dimension. (p. 173)

565. Kirkman, Francis, The Unlucky Citizen Experimentally Described in the Various Misfortunes of an Unlucky Londoner. K638. UMI 1125:26 The protagonist of this narrative is modeled (more or less) on Don Quixote. The second chapter is named Who, and what were his Parents and Relations, and the manner of his Education, his small Encouragements to Learning, and his great inclination to read Books of Knight Errantry, of which he gives some particular account, and what fantastical 5

6

Though it could boast of two bishops’ palaces in the seventeenth century, Lambeth was on the south side of the Thames and noted for its abundance of whores and pickpockets. Furthermore, as Mary Bly has pointed out, Head’s destination, “Ramallia,” is a thin disguise for Ram Alley, a precinct of Whitefriars, known as a sanctuary for debtors, thieves, and prostitutes. See “Playing the Tourist in Early Modern London: Selling the Liberties Onstage,” PMLA 122 (2007): 67. The name of this air-headed English tourist in Venice, Sir Politic Would-be (from Ben Jonson’s Volpone), is interestingly pluralized here to refer to clusters of bad ideas.

1673

329

Humors they raised in him. The strange Fancies of a Fanatical Philosopher. And his own conceited Reflections on Knight Errantry.

The protagonist refers to Don Quixote’s library (DQ 1.6–7), describes his own reading habits as a youth, and notes that he identifies with Sancho Panza: I took my pleasure, delighting in nothing but those sorts of Books so that I wonder I did not become another Don Quixot. (p. 13; sig. B7r ) I encline to believe that I might have been a Squire, and have been made Governor of such an Island as Sir Amadis his Squire Gandelin was, or as Sancho Pancha, Don Quixot’s Squire was. . . . But hold, say some Readers, What is all this for, what does the Author mean? He promised in his Title and Preface to tell us of his Misfortunes, [but he] . . . tells us onely a Tale of Amadis de Gaul, Palmerin, Don Quixot, and I know not who, nothing to the purpose. (pp. 21–2; sig. C3r–v )

There are other references to reading books of knight errantry on pp. 36, 173–5, 180. In chapter 12, the protagonist has a bit of luck when he is put in charge of a book shop; in describing his good fortune, he probably alludes to Sancho’s governorship: I had the sole Rule and Command of my Shop and Books, and that I thought was equal to the Government of any Enchanted Island. (p. 220; sig. P6v )

566. La Serre, Jean Puget de, The Mirrour Which Flatters Not. Transcrib’d English from the French, by T. Cary, Esq. L459. UMI 1036:6 For a reference to Sancho Panza as one to be laughed at, see STC 20490 (1639); in this edition of Cary’s translation, the passage is found on sig. A10r . 567. Leigh, Richard, The Censure of the Rota. On Mr Dryden’s Conquest of Granada. L1018. UMI 360:12 The Rota in Leigh’s title was a political club organized in the 1650s and advocating rotation in government offices. Here the group presumably weighs in against John Dryden’s The Conquest of Granada by the Spaniards, I (1670) and II (1671). Richard Leigh (1650–1728) himself, a poet and actor, begins his censure with an allusion to Don Quixote’s battle with two flocks of sheep (DQ 1.18): Amon[g]st severall other late Exercises of the Athenian Vertuosi in the CoffeAcademy [sic] instituted by Apollo for the advancement of Gazett Philosophy Mercury’s, Diurnalls, &c: this day was wholly taken up by the Examination of the Conquest of Granada; a Gentleman on the reading of the First Part, & therein the Description of the Bull-baiting, said, that Almanzor’s playing the Bull was according to the Standard of the Greek Heroes, who, as Mr Dryden had learnedly observ’d (Essay of Dramatique poetry, p. 25) were great Beef-Eaters. And why not Almanzor as well as Ajax, or Don Quixot worry Mutton, or take a Bull by the Throat . . . [?] (sig. A2r )

Almanzor, of course, is the noble hero of The Conquest of Granada.

330

cervantes in seventeenth-century england

568. Leigh, Richard, The Transproser Rehears’d: or, The Fifth Act of Mr. Bayes’s Play. Being a Postscript to the Animadversions on the Preface to Bishop Bramhall’s Vindication, &c. Shewing What Grounds There Are of Fears and Jealousies of Popery. L1020. UMI 963:9 In this reply to Andrew Marvell’s Rehearsal Transpros’d, Leigh mentions Sancho Panza’s proverbs: Now what think you of washing your mouth with a Proverb or two. For I cannot but remark this admirable way he has of Embellishing his Writings ProverbialWit. As for instance. One night has made some men Gray, pag. 144. and better come at beginning of a Feast, then latter end of a Fray: pag. 166. Which (to express them Proverbially) are all out as much to the purpose as any of Sancho Panca’s Proverbs. For the truth of this comparison, I shall only appeal to the Leaf-Turners of Don Quixot. Some there are below the Quality of the Squires Wit, and would better have become the Mouth of his Lady Joan, or any old Gammer 7 that drops Sentences and Teeth together. (pp. 132–3)

Famous though Sancho Panza’s proverbs came to be, Cervantes does not give him one until DQ 1.19. Rendered by Shelton, it reads: “to the grave with the dead, and let them [that] live to the Bread ” (1612: p. 162). 569. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3229. UMI 1797:30

For a reference to Don Quixote and Sancho and an allusion to tilting at windmills, an allusion to DQ 1.8, see L3225 (1659); in this edition, the passage is found on pp. 167–8. 570. Marvell, Andrew, The Rehearsal Transpros’d. M881aA. UMI 2431:9 For references to Don Quixote’ s influence on readers, to Don Quixote’s barber’s basin and Mambrino’s helmet, to Don Quixote’s fight against a windmill, and to Sancho Panza’s governance of an island, see M878 (1672); in this edition, the passage is found on pp. 60–2, 196–7, 205–6, 261–2, 268–70. Another edition in 1673: M881A (UMI 1620:6), pp. 60–2, 196–7, 205–6, 250, 257–8. 571. Marvell, Andrew, The Rehearsall Transpros’d: The Second Part. M882. UMI 361:14 In response to Bishop Samuel Parker’s preface to Ecclesiastical Politie, Marvell invokes Don Quixote’s chivalry: Did ever Divine rattle out such profane Balderdash! I cannot refrain, Sir, to tell you . . . You talk like a Mountebanke. . . . What Distinction do you make betwixt 7

Lady Joan and Gammer: the coupling of “Lady” and “Joan” is ironic insofar as Joan is a name commonly referring to a low, common woman; and Gammer (an old term derived from “grandmother”) refers to an obviously old woman, in this case one lacking her teeth. As the misogynist Joseph Swetnam puts the matter, “all women are alike: Jone is as good as my Lady, according to the Country mans Proverbe” (The Argument of Lewd, Idle, Forward, and Unconstant Women [1622], 9).

1673

331

the Amours of the French Court, and the secret Amours betwixt the believing Soul and the Lord Christ? What betwixt the Feats of Faith in the 11th. to the Hebrews,8 and the Chivalry of Don Belianis 9 or Don Quixote? What between the Romances of the Lord Christ, and those of the Grand Cyrus or Cleopatra?10 None at all. (pp. 267–68)

Other editions: M882A (1673), pp. 243–4; M883 (1674), pp. 243–4. 572. Osborne, Francis, The Works of Francis Osborne, Esq. O505. UMI 1023:8

For a reference to Don Quixote, an allusion to DQ 1.17–18, see “A Character of a Host” in A Miscellany of Sundry Essayes, Paradoxes, and Problematicall Discourses, Letters and Characters, O516 (1659); in this edition, the passage is found on p. 563. Other editions: O506 (1682), p. 601; O507 (1689), p. 601; O507a (1700), pp. 540–1. 573. Parker, Samuel, A Reproof to the Rehearsal Transprosed in a Discourse to Its Authour. By the Authour of the Ecclesiastical Politie. P473. UMI 504:4 Bishop Parker defends here his oppressive ecclesiastical policies against toleration, responds to Marvell’s satire (q.v.), and refers to Mambrino’s helmet (introduced in DQ 1.10) and Sancho’s island (which becomes a major theme in DQ 2): For to what purpose should he or any man else write Eristical 11 Books to satisfie the World in the Innocence and Justice of their Cause, when at the last they have nothing to plead in their own defence but by appealing to the World to come? ’Tis (I say it again) an easie matter by his dancing and capering humour to perpetuate all the Controversies in the World, how plainly soever determinable, to the coming of Elias;12 and after this rate shall the Barbers Bason remain Mambrino’s Helmet, and the Asses Pannel a furniture for the great Horse till the day of Judgment. You seem much pleased with this Quotation, and it is a very pertinent story to represent the folly of such impertinent Appeals. For Sir you must know that once upon a time a Knight-Errant (you may have read of ) despoiled a poor Village Barber of his Bason, (which the poor man in rainy weather was wont to wear upon his head instead of an Oyl-case to preserve his Hat) supposing it to have been the enchanted Helmet of one Mambrino a notorious Magician of those times. But 8 9

10

11

Hebrews 11 is packed with exemplars of faith, beginning with Abel and proceeding to Enoch, Noah, Abraham, Sara, Isaac, Jacob, Joseph, Moses, Rahab, and more. Belianís de Grecia: the hero of an eponymous chivalric romance (pts. 1–2, 1547; 3–4, 1579) by Jerónimo Fernández. It is one of the few books to survive the purge of Don Quixote’s library (DQ 1.6). Both of these long and popular works were French. Artamène ou le Grand Cyrus, by Madeleine de Scudéry, was published in ten volumes (1649–53) and translated to English by F. G. (1653–5); and the Cléopatre of Gaultier de Coste, Seigneur de la Calprenède, was published in twelve volumes (1646–7) and translated to English by Robert Loveday and others (1652–9). 12 Eristical: argumentative, contentious. As before, Matthew 17:13.

332

cervantes in seventeenth-century england

a while after the Barber happening into the same Inne as the Knight, spies his Bason and cries stop Thief; at this an uproar is made, the Lye is given, and the Inne is immediately fill’d with nothing but plaints, and fears, and screeches, and confusions, and fears, and dreads, and disgraces, and flashes, and buffets, and blows, and spurnings, and kicks, and tweckes,13 and effusions of Blood. But at last by the mediation of some that had more Wit and less Courage than others, the Tumult was appeased, and the whole business between the Knight and the Barber was referr’d to the Arbitration of some pleasant fellows, that were present at the Fray; but they resolving to turn all into Mirth determine at last upon grave and solemn deliberation, that the Bason indeed to them seem’d an Helmet, but yet they durst not that it was so in good earnest, and therefore for the greater safety enjoyn’d both parties to refer its Decision to the day of Judgment. No doubt, much to the Barbers comfort and satisfaction. And just thus has J. O. [John Owen] dealt with me, who having fallen as rudely upon me as the Knight did upon the poor man, and coming off with no great advantage either to the Justice of his Cause or the Reputation of his Wit, gravely summons me to the day of Judgment. (pp. 125–7) And now by vertue of your long Experience and shrewd Observation you think your self qualified, and no man more, to be Sir Pol.14 to all the Princes in Christendome, and you have advised them as gravely as Sancho himself could have done how to govern their Islands. Such is your miserable stupidity. . . . And whoever compares your Lectures must conclude Sancho to be much the deeper Politician. (pp. 482–3) Thus far have you instructed him how to govern his Island by way of Precept, but now we procede to the more instructive Topick of Example; and here you have strung up (as Sancho did his Proverbs) an hundred idle stories of the fatal Catastrophe of ill-bred and uncivil Kings. (pp. 489–90)

574. Phillips, John, Duellum musicum in Matthew Locke’s The Present Practice of Musick Vindicated. L2777. UMI 154:11 Though Phillips was for the most part a hack writer, this combative essay against Thomas Salmon’s proposed reformation of musical practice must have gained authority by being included in a publication by Matthew Locke (c.1622–1677), sometime composer in ordinary to Charles II and organist to Queen Catherine at Somerset House. Phillips alludes to both DQ 1.8 and to Cervantes: By and by he [Salmon] whirls through an inchanted Vale of Fractions and Logarithms, to destroy the poor distressed Gamut,15 with as much fury, as Don Quixot assaulted the Wind-mill. (pp. 41–2)

13 14 15

Twech or tweche: a touch, in this case substantial ones (OED). Sir Politic Would-be: the dense but self-confident Englishman traveling abroad in Jonson’s Volpone. Gamut: the full range of notes produced by an instrument or voice (OED).

1673

333

Neither do I find this Letter-Missive-Gentleman, teazing only the Observer; but in his testy Choler, yerking also at Hudibrass, Rablaise, and Don Quixot, Authors in their kind, whose Trenchers16 he is not worthy to scrape. (p. 75)

575. Phillips, John, Maronides . . . Sixth Book. P2091. UMI 772:7 In this burlesque of Virgil, Phillips refers to Don Quixote in a way that emphasizes his fictional character: To stream as black as any jett At length they came; for fear of fall, Hero held fast by Fardingale.17 When Charon saw ’um, without flatt’ring, Hoarse as a Riggol,18 Beard bespatt’ring, Quo he, What Don Quixot comes here Where only shades of men appear? (p. 60)

Also included in Maronides: or, Virgil Travesty, Being a New Paraphrase in Burlesque Verse, Upon the Fifth and Sixth Book of Virgil’s Æneids: P2092 (1678), p. 60, 2nd pagination. 576. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3444a. UMI 2254:4 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on pp. 349–50. 577. Raillerie a la mode Consider’d: or, The Supercilious Detractor. R139. UMI 224:16

The remainder of the anonymous author’s subtitle is helpful for perceiving his stance: he is writing “A Joco-serious Discourse; shewing the open Impertinence and Degenerosity of Publishing Private Pecques [i.e. piques] and Controversies to the World. Occasionally Written, to a Young Gentleman, to shew the Odium of this Ingentile Humour, and to direct him in the best choice of Men and Books.” In some brief remarks “To the Reader,” he expresses his concern with “true Curtisie . . . and the Duty of Good Language which we owe unto all Men” (n.p.). And to clarify the problem for his young reader, he complains at length about offensive writers (some of whom have attacked John Dryden) and observes that however much filth they toss up, by an “evasive way of Abuse they will be sure to keep wide off [i.e., of ] the Law’s Tenterhooks” (p. 42). He continues: 16 17 18

Trenchers: wooden boards or plates for serving food. When her lover Leander drowned while swimming across the Hellespont, the beautiful priestess Hero dove into the sea—though presumably not wearing an early modern farthingale. Rigol: probably “ridgel,” a half-gelded horse (OED).

334

cervantes in seventeenth-century england

Nor is it easie to conceive the drift or design of this odd fantastick way of writing without the help of a skilful Interpreter, they having more need of Notes and a Comment, than the History of Don Quixot, without which you shall be no more able to apprehend our Author, than capable to carry off the Intregue of one of our Now-adayes Comedies. (p. 44; sig. D6v )

The reference here to Don Quixote may indicate the author’s recollection of Edmund Gayton’s Pleasant Notes upon Don Quixot (1654). Another edition in 1673: R140 (UMI 1978:18), same pagination. 578. Stillingfleet, Edward, An Answer to Several Late Treatises. S5559. UMI 826:11 Stillingfleet (1635–1699) was a learned and highly visible cleric who at the time he published this long Answer to “J. W.” was serving as a chaplain in ordinary to Charles II. Here he writes vigorously and at length “in Defence of our Church Against the Church of Rome.” As he sees the matter, “it is the Cause of the true Faith and Christianity, against the Errors and Corruptions of the Roman Church” (“General Preface,” no pagination or signature). Still he seems to be having fun. He responds in particular to a pamphlet called Dr. Stillingfleet Against Dr. Stillingfleet (1671), the work of an angry Catholic who is himself responding to something Stillingfleet wrote still earlier. Though the identity of Stillingfleet’s target is uncertain, the most likely candidate seems to be John Keynes.19 After completing an 80-page preface and advancing thirteen pages into his text, Stillingfleet writes: I now come to a particular consideration of . . . [this pamphlet]. The Author of which is to be commended for so noble an enterprise (which few of the Champions of former Ages could accomplish) viz. To make his Adversary fall by his own sword. But the mischief of it is, these Romantick Knights do hurt no where but in Paper and their own imagination. (pp. 13–14)

He begins his conclusion with an allusion to Don Quixote: And now, Reader, thou seest what all these pitiful cavils are come to. . . . But these great Heroes must be allowed to relate their famous adventures, with some advantage to themselves: it might have been enough to have rescued the Lady, but not only to destroy the Giant (as any man must be accounted whom such Knights encounter) but to leave him grovelling in the ground and gasping for breath, and that by wounds he forced him to give himself, this is beyond measure glorious. Go 19

John Warner (1628–1692) has also been suggested as the author, but the work is signed “John Williams,” a nom de plume known to have been used by Keynes. For further commentary here, see “Keynes” under 1675.

1673

335

thy way then for the eighth Champion of Christendom,20 enjoy the benefit of thy illustrious fame, sit down at ease, and relate to thy immortal honour thy mighty exploits; only when thou hast done, remember thou hast encountred nothing but the Wind-mills of thy own imagination, and the man whom thou thought’st to have executed by his own hands, stands by and laughs at thy ridiculous attempts. (p. 71)

See also Keynes’s Dr. Stillingfleet Still Against Dr. Stillingfleet (1675), in which the author quotes the latter passage and links it to Don Quixote. Another edition: S5560 (1674), pp. 13–14, 71. 579. S’too Him Bayes: or, Some Observations upon the Humour of Writing Rehearsals Transpros’d. S5740aA. UMI 216:21 (as M890) In a section about literary tone, the author (probably John Dryden) chastises Andrew Marvell for mentioning Don Quixote and the Bible in the same breath—apparently referring to Marvell’s Rehearsal Transpros’d, pp. 261–2 (see supra): Why, . . . he has brought up all the Ammunition of Rayling, and searched every Corner of the Bible and Don Quixot for Powder. The Prophanest wretch alive would have said, he had rak’d Hell and skim’d the Devil for it. But to make the Bible a Magazin of the same Ammunition with Don Quixot, can evince nothing in the Earth, but your old pretensions, and shew the World (as you say) There’s more in’t, ’tis matter of Conscience that you write for. (pp. 114–15)

580. Winstanley, William, Poor Robin. 1673. An Almanack after a New Fashion. A2192. UMI 1084:20 In a calendar for January, “Don Quixot” is celebrated on 3 January (sig. A4v ). “Sancho Panca” is celebrated on 28 February (sig. A5v ) 581. Wycherley, William, The Gentleman Dancing-Master. W3744. UMI 995:26

Although Wycherley (1641–1716) told Alexander Pope that he wrote The Gentleman Dancing-Master in 1662 or 1663, it was not performed before December 1671. The only recorded performance was on 6 February 1672. It was entered in the Stationers’ Register on 18 September 1672 and listed in the Term Catalogue for 21 November 1672. In 5.1, Mr. Parris or Monsieur De Paris, “A vain Coxcomb, and a rich City-Heir, newly returned from France, and mightily affected with the French Language and Fashions,” speaks to Mr. James Formal or Don Diego, “An old rich Spanish Merchant newly returned home, as much affected with the Habit 20

Eighth Champion of Christendom: the fame of the traditional seven heroes was aided by Richard Johnson’s The Famous History of the Seven Champions of Christendom (1596), which continued to please readers well into the eighteenth century.

336

cervantes in seventeenth-century england

and Customs of Spain, and Uncle to De Paris.” Don Diego is much concerned about his gentility in spite of, or because of, his tradesmen ancestors. Mons. Nay, now Uncle you must understand reason; what, you are not only a Don, but you are a Don Quixot too I vow and swear. Don. Thou spot, sploach21 of my Family and blood; I will have his blood look you. (p. 89)

Another edition: W3745 (1693), p. 61.

21

Sploach: an obsolete form of splotch, meaning blot or stain (OED).

@

1674

#

582. Allestree, Richard, The Gentlemans Calling. A1124. UMI 755:9 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. Another edition in 1674: A1124a, p. 134. 583. Blount, Thomas, Glossographia: or, A Dictionary, Interpreting the Hard Words of Whatsoever Language Now Used in Our Refined English Tongue. The Fourth Edition, with Many Additions. By T. B. of the Inner-Temple, Esq. B3337. UMI 809:18 This expanded version of Blount’s durable dictionary introduces a reference to the helmet of the Moorish king Mambrino which had not appeared in earlier editions. Though in Don Quixote itself the subject is first introduced in 1.10, it does not come into its own until 1.21, at which point Don Quixote and Sancho encounter an itinerant barber who is traveling with his shaving basin on his head in order to protect himself from the rain. Thinking the basin is Mambrino’s enchanted helmet, which was supposed to make its wearer invincible, Don Quixote attacks the barber and takes it as a prize. In Glossographia, Blount (1618–1679) adds a new entry that reads: Membrino’s Helmet. Membrino [sic] was a fam’d Knight Errant in Don Quixot, whose Helmet was said to be impenetrable. (p. 404)

It is somewhat odd that aside from Don Quixote himself Blount mentions no other character in that book but Mambrino. Surely at least a couple of others were much better known. Another edition: B3338 (1681), p. 407. See also Elisha Coles’s English Dictionary (1676 et seq.) 584. Butler, Samuel, Hudibras. The First and Second Parts. B6311. UMI 977:3

For a likely allusion to Don Quixote, references to Don Quixote and Sancho Panza, echoes of DQ 1.2, 2.51, 2.6, 1.3, and allusions to DQ 1.18, 1.3 in Hudibras, 1.1.15–21, 1.1.325–26, 1.2.37, 1.2.309–10, 1.2.839–44, 1.2.873, 1.1877–78, see B6296 (1663); in this edition, the passages are found on pp. 2, 20, 58, 74, 105, 106, 153. For an echo of DQ 2.35 in Hudibras, 2.1.276; a reference to Don Quixote and Dulcinea, an allusion to DQ 2.35 in Hudibras, 2.1.875 and another in Hudibras, 2.2.437–38, see B6309 (1664); in this edition, the passages are found on pp. 238, 272, 300, 380–1.

338

cervantes in seventeenth-century england

Butler’s own annotation for 2.2.15–19 (“So th’Ancient Stoicks in their Porch | With fierce dispute maintain’d their Church | Beat out their Brains in fight and study, | To prove that Virtue is a Body, | That Bonum is an Animal . . . ”) appears here for the first time. Butler refers to Don Quixote’s misapprehension of windmills, an allusion to DQ 1.8: Bonum is such a kind of Animal, as our Modern Virtuosi from Don Quixot, will have Windmils under sail to be. The same Authors are of opinion, That all Ships are Fishes while they are afloat, but when they are run on ground, or laid up in the Dock, become Ships again. (p. 404)

Another edition: B6311a (1675), (a ghost); B6312 (1678), p. 404. Also found in Hudibras. The First [and Second] Part: B6303 (1684), p. 404; B6304 (1689), p. 404; B6304a (1694, 1693), p. 404. Also found in Hudibras. The First [and Second and Third] Part: B6305 (1700), p. 339. Also found in Hudibras. In Three Parts: B6319 (1684), p. 404; B6320 (1689), p. 404; B6321 (1694), p. 404; B6321a (1700); B6322 (1700). Also found in Hudibras Compleat. In Three Parts: B6322A (1700), p. 339. 585. Cambridge Jests: or, Witty Alarums for Melancholy Spirits by a Lover of Ha, Ha, He. C332. UMI 58:2 Jest No. 115 contains a reference to Don Quixote: ’Tis farther reported by some, that the same man sitting at Supper, his Cat passed too and fro through his Arms, offending his mouth with her tail; where upon in a rage Don Quixot like, he cut off the tip of her tail most valiantly: I think now, Mistriss Puss, I have given you an Ear mark. The Cat taking it ill, for the present absents her self all that night, but the next morning, knowing her Master was a man that never let the Sun set upon his anger; she came after her wonted manner, to express her kindness to him by standing in his way. Why how now you troublesome Bitch, says he, are you come again? I thought I had given you your breakfast last night? (p. 44)

Though in DQ 2.46 the Don is indeed beset by cats one night, and though one of them lays hold of his nose, the chief parallel between the two incidents (beyond its dependence on felinity) is that both men are roused to counterattack. 586. Duffett, Thomas, The Amorous Old-Woman: or, ’Tis Well If It Take. D2443. UMI 209:4 Thomas Duffett, a minor playwright, is very likely to have been responsible for this anonymous work claiming to have been “Written By a Person of Honour.” Whatever the case, The Amorous Old Woman is a farcical comedy that features Strega, an old woman who is “deformed” (lacking an eye and a leg, for example) but presumed to be rich. It turns out that she is dependent on a servant named Sanco-panco. The name of the latter is obviously a version of “Sancho Panza,” but except for the name itself and the more or less comic role that Strega’s

1674

339

man plays as a helpful attendant, there is no perceivable connection between him and Don Quixote’s sidekick. Other characters in the play describe Sancopanco as the old woman’s “general Officer,” her “Porter, Usher, Steward, Butler, Coach-man, or what you please” (1.5; pp. 13–14). Presumably one might argue that Don Quixote’s Sancho served in various capacities, too, but unlike the vitally alive Sancho Panza, Sanco-panco is described here by one of his fellow characters as seeming like “some Egyptian Mummy preserv’d | By a petrifying Vapour” (p. 13). Another edition in 1674: D2443A (UMI 1775:32). A reissue with a different title: The Fond Lady (1684), UMI 937:33. 587. Head, Richard, The Western Wonder: or, O Brazeel, an Inchanted Island Discovered. H1722. UMI 248: E.125[2], 248: E.125[3] The narrator of Head’s tale insists that his island is genuine, experts’ testimony notwithstanding. But he fears that his work will be taken to be that of “a junior Quixot” and therefore mistaken for foolish fiction: I could instance several Reports of Fishermen, who at several times have seen it [the “Inchanted Island”], but that I fear those Relations will be look’d on as the Chimæra’s of a junior Quixot, or foolish Fictions, undeserving the Registry of a serious and judicious memory. (p. 2; sig. A2v )

588. Heylyn, Peter, Cosmography. H1694. No UMI For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona, an allusion to DQ 1.29 et seq., and to Sancho Panza’s island of Barataria, an allusion to DQ 2.45 et seq., see H1689 (1652); in this edition, the passage is found on pp. 161–2 (3rd pagination, sig. V5r–v ). Another edition in 1674: Cosmography, H1694a (UMI 816:2), pp. 161–2 (3rd pagination, sig. V5r–v ). 589. Hogan-Moganides: or, The Dutch Hudibras. H2366. UMI 458:9 The title of this burlesque of a burlesque descends from the Dutch “Hoogmogendheiden,” meaning “High Mightynesses,” and refers to the States-General of the United Provinces of the Netherlands (OED). The work itself contains references to Don Quixote and his innkeeper host and alludes to DQ 1.8. A passage describing the war-like Hogan reads thus: His Motto, Jason and the Fleece, And had a notable Head-piece, (Who tho’ a gross one oft wou’d boast Himself a Witt, like Quixots Host) Inlay’d with Brass; and for his Crest, A Ship display’d with back and brest, On Billow Rampant, with full Sayls, Ermin’d with Cod, and Herring Scales.

340

cervantes in seventeenth-century england Arm’d Cap a pe, Top and Top-gallant,1 With ribs of Oak out-launc’t Asailant,2 On rowlling Waves cutting Indenture, Donquixoting upon Adventure; And every thing bore Sayl on Main, Was but a Windmill of his Brain, Which hee’d engage, tho’ to his loss, He suffer’d many a deadly toss. (sig. A7r–v )

“Quixots Host” is marked for a note which appears in a section headed “A Letter to M. B. Esquire: Wherein several passages, as well Historical as Natural, in the Precedent Poem are Illustrated and Explained” (p. 103): “Pag. 11. Quixots Hast [sic]. Gayton upon Don Quixot” (p. 107). 590. Marvell, Andrew, The Rehearsall Transpros’d: The Second Part. M883. UMI 361:15 For references to Don Quixote’s chivalry, see M882 (1673); in this edition, the passage is found on pp. 243–4. 591. Phillips, Edward, Theatrum Poetarum. P2074A Under the running head “The Modern Poets,” Phillips refers to Cervantes’s literary output and a play called Don Quixot: Miguel Cervantes, a Spaniard, and the Author of that famous Spanish Romance call’d Don Quixot, besides Novelles and other things in Prose; and in Verse, what ever besides, a Poem entitled Viaje di Parnasso. (p. 138)

Phillips describes the playwright as: Robert Baron, a Dramatic writer, who wrote Don Quixot or the Knight of the Illfavoured Countenance. (p. 160)3

One of the remarkable things about these entries is that the first one introduces here the mention of Cervantes’s extended, eight-chapter, seminarrative poem called El viaje del Parnaso (1614). Mancing describes the work as falling “loosely within the boundaries of the genres of the Menippean satire, the Renaissance dialogue, and the panegyric lists of contemporary writers” (Cervantes Encyclopedia, 2:764). Another edition: P2075 (1675), pp. 138, 160. 1 2 3

Arm’d Cap a pe: armed head to foot; and Top and Top-gallant: from the platform for standing on a lower mast all the way up to the top of the topmast. Asailant: assailing, attacking (as in Milton’s Samson Agonistes: “An ev’ning Dragon came, | Assailant,” ll. 1692–3). Though such a play by Baron (1630–1658) is frequently mentioned here and there, it seems to have vanished. Cf. Brooke’s “Books Very Lately Printed, and in the Press” (1658).

1674

341

592. Rapin, René, Reflections on Aristotle’s Treatise of Poesie. R270. UMI 225:1

A French Jesuit and humanist, Rapin (1621–1687) championed Aristotle in the dispute of the Ancients and the Moderns, arguing in particular for the principle of imitation. Here in the English of Thomas Rymer (1642/3–1713), Rapin mentions both Cervantes and Don Quixote: The principal end of Satyr, is to instruct the People by discrediting Vice. . . . [p. 137] We have two modern Satyrs writ in Prose, much-what of the same air, which surpass all that has been writ of this kind in these latter Ages. The first is Spanish, compos’d by Cervantes, Secretary to the Duke of Alva. This great man having been slighted, and received some disgrace by the Duke of Lerma chief Minister of State to Philip III, who had no respect for Men of Learning, writ the Romance of Don Quixot, which is a most fine and ingenious Satyr on his own Countrey; because the Nobility of Spain, whom he renders ridiculous by this work, were all bit in the head and intoxicated with Knight-errantry. This is a Tradition I have from one of my friends, who learn’d this secret from Don Lope whom Cervantes had made the Confident of his resentment. (p. 140)

At the end of the work, Cervantes is listed in “Names of the Authors whose Poems are mentioned and Censured in this Book” (sig. L7v ). Though Rapin’s name-dropping may seem authoritative enough, it is riddled with errors: Cervantes was never secretary to the powerful statesman and militarist Fernando Alvarez de Toledo, Duke of Alba; so far as history records, he was never disgraced by the Duke of Lerma, Don Francisco Gómez de Sandoval, favorite of Philip III and Spain’s single most powerful man; and if by “Don Lope” he means Félix Lope de Vega Carpio, the incredibly prolific and most successful dramatist of the day to whom he had referred a few sentences previously, he must not have been aware that antagonism, not intimacy, characterized the relationship of the two great writers. Another edition: R271 (1694), p. 146 (sig. N7v ). 593. Scott, Robert, Catalogus librorum ex variis Europæ partibus advectorum. S2078. UMI 675:12 Scott (c.1632–1710) was a bookseller who specialized in selling continental imprints from his shop in the section of London known as Little Britain.4 In the catalogue at hand, in a section of French books headed “Romans,” he offers two works by Cervantes: 4

Roger North thought very highly of him. He believed that “This Mr. Scot was in his time the greatest librarian in Europe; for besides his stock in England, he had warehouses at Frankfort, Paris, and other places, and dealt by factors. . . . He was not only an expert bookseller but a very conscientious good man.” See The Lives of the Right Hon. Francis North, Baron Guilford; the Hon. Sir Dudley North; and the Hon. and Rev. Dr. John North, ed. Augustus Jessopp, vol. 2 (London: George Bell and Son, 1890), 279.

342

cervantes in seventeenth-century england

Les Nouvelles de Miguel de Cervantes Saavedra. 12. 2.vol. Paris. 1665. Histoire de Dom Quixote de la Manche. 12. 2.vol. avec figures. Paris. 1665. (p. 192)

In a section of the catalogue headed “Libri Hispanici,” Scott offers also an early edition of Don Quixote: El Ingenioso Hidaldo Dom [sic] Quixote de la Mancha, por Miguel de Cervantes Saavedra. 8[o ]. 2. vol. en Madrid. 1608. (p. 204)

594. Smith, J., Grammatica quadrilinguis: or, Brief Instructions for the French, Italian, Spanish, and English Tongues. S4088. UMI 1130:22 In the section headed “Of the Spanish Tongue,” in the first section, “The Pronunciation,” the author tells us how to pronounce “Quixote” in Spanish: X sounds like h, (and is sometimes put instead of j ) so prolixo sounds proliho. Don Quixot, Don Keehóte. (p. 137)

Another edition in 1674: S4088A, UMI 2020:10, same pagination. 595. Stillingfleet, Edward, An Answer to Several Late Treatises. S5560. UMI 1316:10 For a reference to romantic knights and their adventures and an allusion to Don Quixote, see S5559 (1673); in this edition, the passages are found on pp. 13–14, 71. 596. Winstanley, William, Poor Robin. 1674. An Almanack after a New Fashion. A2193. UMI 1603:8 Writing with his usual persona “Poor Robin,” Winstanley writes in “Observations on January” that “Don Quixot” is celebrated on 11 January (sig. A5r ), and in “Observations on February,” “Sancho Panca” is celebrated on 17 February (sig. A6r ). And in “The As-trological Scheme” for the year Don Quixote is featured in the first house (upper left quadrant) and in the explanation of the scheme: That we do not go the ordinary way of Astrologers in erecting our Scheme we do confess, but that we can guess at the truth of things to come as well by this, as they can do by theirs we constantly affirm. Here then we find Don Quixot rampant in the first house, who in his time was a man of might, which plainly denotes, that where Foot-ball play is used may happen to be broken shins. (sig. C3v )

@

1675

#

597. Alsop, Vincent, Anti-sozzo: sive, Sherlocismus enervatus in Vindication of Some Great Truths Opposed. A2905. UMI 953:28 A Presbyterian clergyman and ejected minister (1662) who eventually became widely known for his publications, Alsop (1630–1703) began his writing career in 1675 with Anti-sozzo (against Socinianism).1 In it he targets the views of William Sherlock as they were voiced in Sherlock’s own first publication, A Discourse Concerning the Knowledge of Jesus Christ, and Our Union with Him (1674).2 In particular, the third chapter of Anti-sozzo contains a section titled “How Unsafe It Is to Found Religion upon a Pretended Acquaintance with Christs Person,” wherein Alsop puts forth a number of mocking contrasts and quasi-questions leading to a reference to Don Quixote (1.8). Alsop wonders: Whether there be that regular proportion betwixt his [Sherlock’s] Confidence and his Performance; whether he has put such fair Colours upon things, but that the Morphew of the skin shines through the Ceruss;3 whether his Matters be Linckt together with such artificial connexions? Or whether the Sun in the Firmament, and as the Battoon 4 in the Chimney corner do not as well shake hands; that is, whether the Wind-Mill be not alive for all Don Quixot? (pp. 282–3)

Another edition: A2905A (1676), UMI 1084:35, same pagination. 598. A Catalogue of Books Continued, Printed and Published at London in Easter Term, 1675. Number 3. Under the heading “Books Reprinted”: The History of the Valorous and Witty Knight Errant, Don Quixote of the Mancha; newly corrected and amended. Printed for R. Scot, T. Basset, J. Wright, R. Chiswell. (Arber, Term Catalogues, 1: 208.)

599. Cervantes Saavedra, Miguel de, The History of the Valorous and Witty Knight Errant, Don Quixote of the Mancha. Translated out of the Spanish; Now Newly Corrected and Amended. C1777. UMI 652:2 For references in Shelton’s dedicatory epistle to Lord Walden, see STC 4915 (1612); in this edition, the passage is found on sig.(1r–v ). 1

2 3 4

Socinianism: pertaining to Laelius Socinus (Lelio Francesco Maria Sozzini, 1525–1562) and Faustus Socinus (Fausto Paolo Sozzini, 1539–1604), who rejected the Trinity, the divinity of Jesus, and original sin. William Lamont’s article on Alsop in Oxford DNB, 1:899–900 is helpful. Morphew: “A leprous or scurfy eruption”; and Ceruss: i.e., ceruse, “a paint or cosmetic for the skin” (OED). Battoon: a staff or stick.

344

cervantes in seventeenth-century england

Although pagination is continuous throughout, the second part has a separate title page dated 1672. 600. The Country Almanack for the Year, 1675. A1496a In the preface in a passage about the prognostications of Poor Robin (probably William Winstanley), there is a reference to Sancho Panza and Don Quixote, an allusion to DQ 1.12: Poor Robin for my Mony: for certainly, he that assures me Straw-berries, and Cherries, will be more plentiful in June than January, hath great odds of him that holds the contrary. . . . I envy not the glory of such as confidently shoot at Rovers5 though now and then they hit the Mark, and if for this, any count me an Ignoramus in Astrollogy: I shall resent it as highly, as if an Hector 6 denied I was ever Squire to Don Quixot, or beheld his famous Encounter with the Knight of the Looking-Glasses. (sig. A1v )

In the course of this famous encounter, depicted in DQ 2.14, the grizzled older man knocks the Knight of the Mirrors off his mount only to learn that he is Don Quixote’s young friend, Sansón Carrasco. 601. Daffy, Anthony, Elixir salutis: The Choice Drink of Health. D106B. UMI 2531:3

For a reference in which Daffy excoriates Thomas Hinde and in the process calls him “a jugling Don Quixote,” see D105B (1673); in this edition, the passage is found on the verso of the title page. 602. Dryden, John, The Rival Ladies. D2348. UMI 208:11, 1382:4 For a notice that it is likely that Dryden knew and used Cervantes’s Las dos doncellas, a story from the Novelas ejemplares—probably James Mabbe’s translation as it appeared in either his Exemplarie Novells (1640) or his Delight in Severall Shapes (1654)—see D2346 (1664). 603. Keynes, John, Dr. Stillingfleet Still Against Dr. Stillingfleet: or, The Examination of Dr. Stillingfleet Against Dr. Stillingfleet Examined. W910. UMI 1079:19 Sent as a boy to the Jesuit school at St. Omer’s, near Calais, and then to St. Alban’s, the English College at Valladolid, John Keynes (1624–1697) proceeded to the higher levels of Jesuit study and became a teacher of theology and philosophy in Valladolid, Compostela, Salamanca, and Pamplona. When serious illness sent him back to England, he became enmeshed in arguing with the Anglican theologian Edward Stillingfleet. 5 6

Rover: a mark for long-distance shooting in archery (OED). Hector: an ironic term descended from the great Trojan hero, applied in seventeenth-century England to disorderly former soldiers and, by extension, to various other kinds of unruly rascals.

1675

345

It now seems certain that Dr. Stillingfleet Still Against Doctor Stillingfleet was one of two publications that Keynes wrote with the red-herring nom de plume John Williams.7 Authorship of the book has been confused in part because Williams (1636–1709) was an actual person, indeed the man whom Keynes succeeded as provincial of the English Jesuits. Furthermore, the book has sometimes been attributed to John Warner (1628–1692), an English Jesuit ordained in Spain, who was sometime rector of St. Omer’s and, after returning to England, confessor to James II. Despite being 279 pages long, Dr. Stillingfleet is primarily an aggrieved and mocking attack on the thinking and writing of Edward Stillingfleet, a cleric and staunch champion of the Anglican Church. In his preface, Keynes objects to the fact that one of his own publications has been criticized by Stillingfleet in a quixotic style. Calling to mind in particular Don Quixote’s attack on a windmill (DQ 1.8), he writes: [Dr. Stillingfleet avers] that I sought for nothing but words, to raise Cavils upon. In fine, he closes up his Answer to me in Don Quixots stile, Go thy way then for the Eighth Champion of Christendome:8 enjoy the benefit of thy illustrious Fame: Sit down at ease, and relate, to thy immortal honour, thy mighty exploits: only when thou hast done, remember, thou hast encountred nothing, but the Windmills of thy own imagination. (sig. a3v ) By these, and such like romantick Phrases, which are the chief Ornament, that sets off his works, we may easily guess, in what books this Dr. of Divinity has spent his time, and that he is well verst in Don Quixot, the Seven Champions, and other Romantick Stories. Sure he erred in his Vocation; had he quitted all serious matters, and dedicated himself wholly to Drollery, and Romances, with two or three years under Hudibras, he would have been a Master in that Faculty: the Stage might have been a gainer by it, and the Church of England would have been no loser. (sig. a4r–v )

604. Lilly, William, A Just Reward for Unreasonable Service: or, An Answer to John Gadbury’s Late Hectorisme for Scorpio Wherein His Malicious Invectives Against Mr. Lilly Are Fairly Wip’d Off, His Forgeries and Impertinences Exposed. J1239. UMI 1741:35 Using the unlikely nom de plume Bentivolio Philo-Huff-Lash, the astrologer William Lilly (1602–1681) here attacks his former friend and current foe John Gadbury (1627–1704). Apparently Lilly was pleased to discover Gadbury’s over-reaction in rising to the defense of those who were born with Scorpio rising. Lilly had previously written that Scorpios were destined to be lechers, criminals, or traitors, one consequence of which was that Gadbury responded 7 8

F. Blom and J. Blom, Oxford DNB, 31:482. Keynes refers to a cluster of seven national heroes in medieval literature, known best to the English through Richard Johnson’s The Most Famous History of the Seven Champions of Christendome. This History was published first in two parts in 1596–7 and then some nineteen times more, in one form or another, during the 1600s.

346

cervantes in seventeenth-century england

with Obsequium Rationabile, or, A Reasonable Service Performed for the Calestial [sic] Sign Scorpio . . . Against the Malitious and False Attempts of that Grand (but Fortunate) Imposter, Mr. William Lilly (1675).9 Now here, in A Just Reward, Lilly compares Gadbury with Don Quixote, and in the process manages to mention both windmills and enchanted castles (DQ 1.8, 1.2, et seq.): When first I saw J. Gadburies Pamphlet, his Rhetorical Outcries to all Persons, Gentle or Simple of the Tribe of Scorpio . . . made me apprehend some horrid Plot on foot. . . . [U]pon a calm and impartial examination I find our Author is only Don-Quixoted with pride and malice, and thence takes the Windmils of his own addle Crown for inchanted Castles and affrighted Mormos;10 so that I dare assure all the Scorpionists between Dover-peer & Barwick upon Tweed, that if they will but keep the Kings peace and have a small portion of Grace, or so much as a competent Dose of right Reason about them, they may still . . . live in safety, and dye in their beds without putting themselves to the trouble of cutting their own Throats, or the charge of anticipating Halters. (pp. 1–3)

A further fact is that Lilly probably had Don Quixote frequently in mind about this time. It is recorded that in 1675 he had two horses, one called Major Brown and one called Roznante.11 605. Mortlock, Henry, “Catalogue of Books,” in The Remains of Sr. Walter Raleigh. R184. UMI 1365:16 After the table of contents of Raleigh’s Remains, a catalogue of books appears under the heading: “These Books following are printed for Henry Mortlock at the Phœnix in St. Paul’s Church-yard, and the White Hart in Westminster Hall” (sig. A5r ). First in the list is “Delights in several shapes, drawn to the life in six several shapes, pleasant Histories, by that famous Spaniard Don Miguel de Cervantes Savedra, the same that wrote Don Quixote, in folio” (sig. A5r ); the fifteenth is: “Gayton’s Notes upon Don Quixote, in folio” (sig. A6r ). 606. Phillips, Edward, Theatrum poetarum. P2075. UMI 191:9 For notes recording that Cervantes was the author of Don Quixote and other works in prose and verse and that Robert Baron may also have written a drama called Don Quixot, see P2074a (1674); in this edition, the passages are found on pp. 138, 160.

9 10 11

Derek Parker, Familiar to All: William Lilly and Astrology in the 17th Century (London: Jonathan Cape, 1975), 254–5. Mormos: presumably Moros, Moors. Lilly may be thinking of Don Quixote’s attack on Maese Pedro’s puppet Moors in DQ 2.26. Parker, Familiar to All, 236.

1675

347

607. Smith, John, Christian Religion’s Appeal from the Groundless Prejudices of the Sceptick to the Bar of Common Reason. S4109. UMI 1340:10

Though little is known of him, this John Smith (d. 1711), at the time of publishing Christian Religion’s Appeal, was rector of St. Maries in Colchester, Essex. He opens his tenth chapter (“The Demonstration of Power”) with the backward-looking statement that “WE have seen the Prints of incomprehensible Wisdom upon the Creatures, and thence demonstrated the Being of a God” (p. 86). Now “The next demonstration of a Deity is the impressions of infinite Power stampt upon his Works.” Given the context, it may seem somewhat strange that near the end of such an introductory paragraph there is a reference to Don Quixote and his most famous folly: [T]he God of Israel, the Father of the blessed Jesus, hath as far out-stript all other pretenders to Divinity and Authors of Religions, as the Feates of the Artillery Garden12 are exceeded, by the wisest Stratagems of the greatest Captains; the products of a Wheel-wright, by Archimedes his Engines; A blind mans catching an Hare by chance, by the success and Achievements of Diana and her Quire of Huntresses: or, Don Quixots Windmill engagements, by the Exploits of Cesar; or the Sorcerers Serpents, by that of Moses.13 (p. 86)

608. Winstanley, William, Poor Robin, 1675. An Almanack after a New Fashion. A2194. UMI 1347:13 In “Observations on January,” “Don Quixot” is celebrated on 5 January (sig. A5r ), and in “Observations on February,” “Sancho Panca” is celebrated on 20 February (sig. A6r ). In a diagram of an astrological scheme, Sancho Panca is located in the ninth house (sig. C3v ). In explaining this scheme, Poor Robin refers to Sancho’s island and to Sancho’s idea of governance: In the ninth House is Sancho Pancha, Squire to that Heroick Spanish Knight Don Quixot de la Mancha. He having an island committed to his charge, did govern the same just as young men and maids do love one another, Like unto anything. (sig. C4v )

609. The Woman Turn’d Bully. A Comedy. W3322. UMI 971:12 This anonymous play, known also as The Woman Rules, was performed by the Duke’s Company on 24 March 1675. The first scene of the third act opens with a dialogue between Truman, “A young Gentleman of the Temple, possest of an Estate,” and Goodfeild, “His Friend, newly come to Town” (sig. A2r ). While the two await the arrival of Goodfeild’s opponent in a duel, Truman asks: 12 13

The Artillery Garden, situated just north of the City of London, was (and is) the site of the Artillery Company. Moses: Exodus 8:8–10; Numbers 21:8–9.

348

cervantes in seventeenth-century england

’Sbud,14 Ned, thou art not mad, to venture thy life with this? [Goodfeild.] Come, waive this Raillery, and lets talk of something else.—Didst thou observe yesterday, what havock the little Rogue made among the Plays? [Truman.] Aye, like Don Quixot among the Romances, for all the world. [Goodfeild.] Why, his discourse was almost all Dramatick. [Truman.] True: but I perceived withal, he did it a purpose; and not through any want of Invention, or defect in his own Genius. . . . (p. 34; sig. F1v )

14

’Sbud : a form of ’S Bodikins; i.e., God’s body (OED). Or, somewhat less likely, a corrupt elision of “God’s blood.”

@

1676

#

610. Allestree, Richard, The Gentlemans Calling. A1125. UMI 1298:12 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 611. Alsop, Vincent, Anti-sozzo: sive, Sherlocismus enervatus in Vindication of Some Great Truths Opposed. A2905A. UMI 1084:35 For a reference to Don Quixote and windmills, an allusion to Don Quixote 1.8, see A2905 (1675); in this edition, the passage is found on pp. 282–3. 612. Burton, Robert, The Anatomy of Melancholy. B6184. UMI 885:21 For a reference to mad Don Quixote, see STC 4159 (1621); in this edition, the passage is found on p. 177. For a reference to Dulcinea in a passage about alluring women, see STC 4163 (1638); in this edition, the passage is found on p. 320. At the end of this volume there is a catalogue of “Books Printed for and Sold by Peter Parker, at the Legg and Star right against the Royal Exchange in Cornhill.” In a list of about fifty titles, the ninth is “Delight in several Shapes drawn to the life in six pleasant Histories by the Elegant pen of that Famous Spaniard, Author of Don Quixot, folio” (no pagination; no signature). 613. Charleton, Walter, in Letters and Poems in Honour of the Incomparable Princess, Margaret, Dutchess of Newcastle. L1774. UMI 1507:14

After his wife, Margaret, had honored him in 1667 by publishing The Life of the Thrice Noble, High and Puissant Prince William Cavendishe, Duke, Marquess and Earl of Newcastle, and after Walter Charleton (1619–1707) had gone so far as to publish a Latin version of it in 1668, William Cavendish (1595–1676) in his final year was moved to bring forth a collection of writings in praise of his wife, who had died in December of 1673. Such a work was almost bound to include Charleton, who was at least nominally a physician to both Charles I and Charles II, as well as a Cavendish friend. One of the letters composed by Charleton, addressed to Lady Margaret and included by Newcastle, is dated 7 May 1667. Writing from his house in Covent Garden, Charleton mentions knowing a man who learned Spanish so he could read Don Quixote: They tell us, that the End of all Books is either profit, or pleasure. . . . It will not then, I hope, Madam, be thought derogatory to the Profitableness of your Grace’s Books, If I acknowledge my self to have received very great pleasure in reading

350

cervantes in seventeenth-century england

them. And this pleasure was so charming, it so far transported me, as often to make me wish, you might never entertain a resolution of causing your works to be Translated into any other Language: that so all Ingenious Forreigners, invited by the Fame of your most delightful Writings, might be thought to do Honour to the English Tongue, by learning it on purpose to understand them. For I am [so] zealous for the Reputation of my native Language . . . as to desire all men should participate of what I find delectable. Besides, I could not but remember, that I had known a great Man of our Nation, who studied Italian, only to acquaint himself with the Mathematiques of Galileo . . . and Spanish, merely out of love to the Incomparable History of Don Quixot. (pp. 109–10; sigs. Ff1r–v )

A parallel case to the one Charleton cites here occurred a few years later. When the playwright Nicholas Rowe (1674–1718) sought to take service with George Savile, Marquess of Halifax, the Marquess advised him to learn Spanish. When Rowe returned later to say he had done so, Halifax said only, “Then, Sir, I envy you the pleasure of reading Don Quixote in the original.”1 In another letter addressed “To the Right Honourable, the Lady Margaret, Marchioness of New-Castle” and dated “London, January 1. 1654,” Charleton mentions Don Quixote’s “Raptures” and “Exultations” as he thanks the good lady for a presentation copy of The Worlds Olio (1655) and tells her how much he enjoyed her originality and “Facetious Poetical Extravagancy”2 : [It is] reasonable to allow, that the Fictions of Poets, and Romancists do usually take as strong hold of mens Minds, and Charm their Affections as powerfully, as the most Authentique Narrations of Historians. . . . [T]o speak my Thoughts clearly, the Pleasure that ariseth from the comprehension of the most perfect and laborious Demonstration of Geometry, I never could find, either in height or duration, much to exceed that, which I have sometime been affected withall, at the recital of a Facetious Poetical Extravagancy, of which I had not afore heard. Nor do I believe, that the Raptures, and Exultations of Don Quixot were much inferior to that famous one of Archimed, which transported him out of himself, as well as out of the Bath, into a loud Exclamation, I have found it, I have found it. (pp. 144–5; sigs. Oo2v –Pp1r )

614. Coles, Elisha, An English Dictionary Explaining the Difficult Terms That Are Used in Divinity, Husbandry, Physick, Phylosophy, Law, Navigation, Mathematicks, and Other Arts and Sciences. C5070. UMI 1122:3a

A stenographer, a schoolmaster, and the first historian of English shorthand, Elisha Coles (1640?–1680) was also a notable lexicographer who produced this English Dictionary, which enjoyed no fewer than thirteen editions.3 1 2

3

Quoted by Annibel Jenkins, Nicholas Rowe (Boston: Twayne Publishers, 1977), 73. Charleton was particularly taken with Lady Margaret’s “Supposition of Fayeries in the Brain, and of our Thoughts being their Consults and Suggestions; and . . . [her] opinion that the Fayeries digging for Stones in the Quarries of the Teeth, to repair their decay’d Tenements in the Head, is the Cause of the Tooth-ach” (p. 144). See Page Life, Oxford DNB, 12:595–6.

1676

351

Notwithstanding the lively minded Coles’s sense of humor, it is somewhat surprising that he elected to mention Don Quixote in his Dictionary. Here, nevertheless, among the M’s, he includes: Membrino, a fam’d Knight errant in Don Quixot, whose helmet was said to be impenetrable. (sig. Aa2v )

Mambrino’s helmet, of course, had previously been brought to readers’ attention in Ariosto’s Orlando Furioso. There it was indeed said to be enchanted. In Don Quixote, 1.22, however, the Spanish knight’s basin-helmet is badly battered by the recently liberated Ginés de Pasamonte and his fellow galley-slaves. Other editions: C5071 (1677), sig. Aa2v ; C5072 (1684), sig. Aa2v ; C5073 (1685), sig. Aa2v ; C5074 (1692), sig. Aa2v ; C5075 (1696), sig.T5v . See also Thomas Blount’s Glossographia (1674 et seq.) 615. D’Urfey, Thomas, “Preface” in Vincent Voiture’s Zelinda: An Excellent New Romance. V684. UMI 902:44 and UMI 616:5 (as S2164) In this translation by Thomas D’Urfey (1653–1723) of L’histoire d’Alcidalis et Zelide by Vincent Voiture (1598–1648), a leading précieux poet, the title page erroneously ascribes the work to “Monsieur [Georges] De Scudéry.” In his preface D’Urfey refers to Sancho Panza: Book-Sellers too are grown such Saucey Masterly Companions, they do even what they please; my friend Mr. [Richard] Bentley calls this Piece an excellent Romance; there I confess his Justice, and Ingenuity. But then he stiles it a Translation, when (as Sancho Panca said in another Case) ’tis no more so then the Mother that bore me. (sig. A5r )

Cervantes employs different versions of the expression “la madre que me parió”—still common in Spain today—but none fit D’Urfey’s wording very closely. One might hope that he was mis-remembering the passage where the narrator recalls the good old days when “Damzels . . . at the end of fourescore yeeres . . . went as entyre and pure maydens to their Graves, as the very mother that bore them” (DQ 2.1). Another candidate (in words spoken by Don Quixote) might be the passage where Dulcinea is said to be “now right as her mother bore her” (DQ 1.26). 616. Hutchinson, William, A Rational Discourse Concerning Transubstantiation. In a Letter to a Person of Honor. H3838. UMI 1334:11

Introducing himself on the title page as “a Master of Arts of the University of Cambridge,” Hutchinson announces his purpose for writing this Discourse in an opening sentence addressed to a friend: Having lately had the honor of your Company, you were pleased to signifie a particular difficulty which you had, to believe the great mystery of Love, and

352

cervantes in seventeenth-century england

grand stumbling block of more ingenious Protestants, the mystery of Transubstantiation; in which, if I could give you satisfaction, to my best remembrance, you promised me to reconcile your self to the Church of Rome. (sig. A2r )

In presenting his case, he at one point bids his friend: Consider though our Adversaries but very irrationally deny any miracles to have been wrought in our Church, yet they cannot deny but we have Records without number of notorious and most evident miracles, and such Records as in civil matters no body questions. . . . Moreover, we finding by the experience of the Age we live in, that though fabulous stories be told and printed too, yet we easily distinguish betwixt them and true Histories of the present times. For that true Histories gain an universal credit amongst persons of the best understanding, and the Historigraphers that write them, are commended to Posterity as faithful witnesses of Truth; whereas fables and fictions, every one of ordinary capacity, looks upon them as such, nor do we give any other Recommendation of them to Posterity then as of fabulous Romances. This we experiencing in the present Age, persons of humility and solid judgment, deem the like to have happen’d in the daies of their Fore-fathers; and consequently give another kind of credit to Stories, how strange so ever recounted by a S. Bernard, a venerable Bede, or a S. Bonaventure, then they do to the fictions of a Don Quixot, a Guy of Warwick, etc. (pp. 36 [for 37]–8)

It is striking that Hutchinson, reaching for a touchstone example of fiction, turns first to Don Quixote and then to Guy of Warwick (the story of a medieval dragon-and-giant-fighting hero, still being read by English readers in various versions) in order to contrast both to the stories of St. Bernard of Clairvaux (d. 1153), England’s Venerable Bede (c.672–735), and St. Bonaventure (1221– 1274). 617. Lilly, William, Some Further Remarks upon Mr. Gadbury’s Defence of Scorpio, by Way of Addition to A Just Reward for Unreasonable Service. By the Man in the Moon. L2244. UMI 1913:6 An astrologer who put his skills to work against his king and for Parliament at mid-century, William Lilly (1602–1681) was an authority on angels and fairies, and a writer whose annual almanacs were known throughout the land— reputed to have reached sales of close to 30,000 in 1649.4 Popular as he was, however, Lilly found himself increasingly out of step with the Restoration world. In fact, he was famously mocked as the astrologer Sidrophel in Samuel Butler’s Hudibras. Fairly early in his career Lilly had been the mentor and friend of the much younger John Gadbury (1627–1704), a man who eventually distanced 4

Patrick Curry, Oxford DNB, 33:794–8). In the 1650s, Curry writes, these almanacs were translated to Dutch, German, Swedish, and Danish.

1676

353

himself from Lilly, moving not only toward royalism but also toward a far less traditional, more Baconian sort of astrology. Ultimately he became one of Lilly’s bitterest enemies. Forward-looking though some of Gadbury’s views were, however, his specialty was the old subject of natal astrology, and in 1675, a Scorpio himself, he published Obsequium rationale, or, A Reasonable Service Performed for the Coelestial Sign Scorpio . . . Against the . . . Impostor, Mr. William Lilly. Lilly had previously used Gadbury’s Scorpianism to blacken his character, and in the work at hand, as the title claims, he returns to the fray with Some Further Remarks upon Mr. Gadbury’s Defence of Scorpio . . . Wherein Not Only Mr. Gadbury’s Pretentions to Astrology Are Dissipated; but Even His Title to Learning and Right Reason . . . Is Shaken. Here, in his prefatory matter, Lilly twice recalls Don Quixote’s lady-love, Dulcinea. In his salutation he writes: To the Worshipful Mr. John Gadbury, Quondam Taylor in Ordinary to Mr. William Lilly; now Extraordinary Physician to Her Majesty, and a Secretis to the Peerless Dulcinea, otherwise called the Gardiner’s Daughter. (sig. a2r )

Though the private matters aired here are difficult to unravel, the tailor reference harks back to the days when Gadbury was an eager protégé of Lilly. In The Scurrilous Scribler Dissected: or, A Word in William Lilly’s Ear, Gadbury refers to himself thus: [S]o much Friend is he to W. L. that he had been a Taylor or Footboy still, so he had scaped being Author of the Treasonable Pamphlet, called Monarchy or no Monarchy.5

This reference looks back to still earlier times when he served a brief apprenticeship to a tailor in Oxford. More startling is Lilly’s reference to the queen. Gadbury, however, apparently did acquire the (possibly courtesy) title of Physician to Queen Katherine. 6 Regarding the Dulcinea passage, Gadbury in his Scurrilous Scribler writes: For the Story of the Gardiners Daughter, which w.l.’s lying Advocate makes a scandalous noise withal, I. G. [i.e. Gadbury himself ] desires him to speak plainly, and not in Riddles: for he knoweth nothing that can countenance any such bold falshoods. Nor doth he remember that ever he had difference with any more than two women in all his life; the one was a Lady (so called) that having been Ruinous to many Families where she had lodged, he justly denied to entertain her into his House: The other was a Gentlewoman, that he refused to lend ten Pounds unto, not knowing how to come by it again. (1r ) 5 6

2nd edn., G97C (1693), sig. 1r ; published after Lilly’s death. Monarchy or No Monarchy (1655) is a Lilly publication wherein he foresees great things for Prince Charles. Bernard Capp, English Almanacs: 1550–1800 (Ithaca, NY: Cornell University Press, 1979), 207.

354

cervantes in seventeenth-century england

Still with Gadbury in mind, Lilly in the epistle of Some Further Remarks mentions Dulcinea again. [T]hough your Enemies rejoyce, and Scorpio be found to be a very lewd Sign, yet keep as long as you can on this side Hell (as ’tis canted 7 ) and exercise neither Knife, Halter, nor Pill. The Lady Dulcinea is still in esse,8 young & kind, and there may come a time, when you may have 45. l. for your five sheets again. (sig. a2v –3r )

618. Loveday, Robert, Loveday’s Letters Domestick and Forrein. Sixth edition. L3229A For a reference to Don Quixote and Sancho and an allusion to DQ 1.8, see L3225 (1659). 619. Poor Robins Intelligence. N&S: 548.113 In this issue (possibly by William Winstanley) which covers events from 20 to 27 June 1676, there is a reference to Don Quixote and his fearless attack on a windmill (DQ 1.8): Houlbourne, June 26. Here was lately apprehended, one of our Night-walking Hectors, 9 who was no more afraid of a Watch-man, than Scanderbeg10 was of a Turk, or Don Quixot of a Windmill. (No pagination; no signature)

620. Ramesey, William, The Gentlemans Companion: or, A Character of True Nobility and Gentility. R207. UMI 1238:3 For a reference to Don Quixote as recommended reading for a young gentleman, see R206 (1672); in this edition, the passage is found on pp. 132–3. 621. Scarron, Paul, The Comical Romance: or, A Facetious History of a Company of Stage-players Interwoven with Divers Choice Novels, Rare Adventures, and Amorous Intrigues. S831. UMI 1315:10 For a reference to Don Quixote’s habit of imagining himself a knight errant, see S830a (1670); in this edition, the passage is found on p. 25. In another reference one of Scarron’s characters says even the French cannot write better “quaint Novels” than those of Cervantes, but another one singles out Don Quixote for scorn; in this edition, the passage is found on pp. 98–9. 7 8 9

10

Canted : spoken with an affectation of goodness or piety (OED). In esse: in being, actually existing. Hectors: when warring declined as an occupation, some soldiers, returning to London, became street-rogues and were called Hectors after the famed Trojan warrior. See Randall, Winter Fruit 305–7. Scanderbeg (1405?–1468) was an Albanian revolutionary leader.

1676

355

622. Stillingfleet, Edward, A Discourse Concerning the Idolatry Practised in the Church of Rome. Fourth edition. S5580. UMI 1601:14 For a passage in which Stillingfleet compares the conversion of Ignatius Loyola to the epiphany of Don Quixote, see S5577 (1671); in this edition, the passage is found on p. 305. 623. Winstanley, William, Poor Robin, 1676. An Almanack after a New Fashion. A2195. UMI 1221:12 In “Observations for January,” “Don Quixot” is celebrated on 9 January (sig. A5r ), and “Sancho Pancha” is celebrated on 17 February (sig. A6r ) in “Observations for February.”

@

1677

#

624. Allestree, Richard, The Gentlemans Calling. A1126. UMI 1434:8 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 625. Behn, Aphra, The Town-Fopp: or, Sir Timothy Tawdrey. A Comedy. B1769. UMI 446:5 The second of Aphra Behn’s plays to mention Don Quixote, The Town Fop is a comedy that was first played by the Duke’s Men in September of 1676 and first published in 1677. The passage quoted here occurs in the second scene in an exchange between Sir Timothy and Celinda’s nurse: Sir Tim. Yes, I am a Gentleman, and a Knight. Nur. Yes, Sir, Knight of the ill-favour’d Countenance is it? Sir Tim. You are beholding to Don Quixot for that, and tis so many Ages, since thou couldst see to read, I wonder thou hast not forgot all that ever belong’d to Books. Nur. My eye-sight is good enough to see thee in all thy colours, thou Knight of the Burning Pestle thou. (p. 9)

At least some in the audience must have been expected to remember that Sancho invents and Don Quixote adopts the sobriquet “Knight of the Il favoured face” (DQ 1.19, p. 161 in Shelton’s 1612 text). Furthermore, Behn’s late-century coupling of Don Quixote and Knight of the Burning Pestle raises again the issue of their thought-provoking similarities. Another edition: B1770 (1699), p. 8. 626. Brome, Henry, “Catalogue” in Peter Du Moulin’s A Calm Answer to a Violent Discourse. D2556. UMI 560:10 At the end of Du Moulin’s work (following p. 26) is a catalogue headed “Books Printed for, and sold by H. Brome, since the dreadful Fire of London, 1666, to 1677.” Under the heading “Histories”: “The History of Don Quixot, fol.” (sig. E2r ). 627. Cleveland, John, Clievelandi vindiciæ: or, Clieveland’s [sic] Genuine Poems, Orations, Epistles, &c. Purged from the Many False & Spurious Ones. C4669. UMI 624:15 For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on p. 36.

1677

357

For a reference to Don Quixote and Sancho Panza in The Character of a Country Committee-man, see C4656 (1649); in this edition, the passage is found on p. 95. For a reference to Don Quixote’s fight against a windmill (DQ 1.8) in The Character of a London Diurnal, see C4659 (1644); in this edition, the passage is found on p. 112. Other editions in 1677: C4670 (UMI 658:3), same pagination; C4671 (UMI 658: 4), same pagination. 628. Coles, Elisha, An English Dictionary Explaining the Difficult Terms That Are Used in Divinity, Husbandry, Physick, Phylosophy, Law, Navigation, Mathematicks, and Other Arts and Sciences. C5071. UMI 450:27

For a reference to Mambrino’s helmet (DQ 1.22), see C5070 (1676); in this edition, the passage is found on sig. Aa2v . 629. Harton, Richard, Handwritten notes in Don Quixote. Special Collections Library, Perkins Library, Duke University, Durham, N/C. Shelfmark: E 12mo no. 4036 Along with many doodles, numbers, and lines of verse, Richard Harton has inscribed his name several times, claimed ownership, and written the date 1677 in this two-part volume of Don Quixote, once in the library of Joseph John Chapman, Esq. (1837–1873), of Whitby, a J.P. in the North Riding, Yorkshire. The volume is composed mainly of severely cropped pages from the 1612 and 1620 editions of Don Quixote. These are fleshed out with a facsimile title page to part 1 and a handful of pages from a different copy of the 1620 edition, and the whole is bound in stiff paper so as to imitate vellum. Ownership long before Chapman’s was claimed both by Harton and by Jonah Robson, yet the names of neither of the latter are to be found in any of the usual biographical reference sources. Nevertheless, the volume as a whole provides a variety of glimpses of everyday early handling of Cervantes’s Don Quixote, and in fact, with its jottings in a number of hands besides those of Harton and Robson, it suggests its passage from person to person. Some pages of the book have served to test a quill point and some to add a sum or list the qualities of a good woman (“amorous . . . Faithful, Generous, Honourable, Innocent, Kind, Lovely, Modest . . . Patient, Rich . . . Virtuous”), and a small handful respond to passages in the printed text. At the close of the story of “the curious impertinent,” for instance, an early hand has added “where is ended the historie∗ ”—though the meaning of the asterisk is now unknowable. Another early writer produced what apparently was, before its trimming, a margin filled with words in response to the narrative’s mention of La Galatea; after putting a modest “x” by the title of Cervantes’s pastoral, the writer began “This . . . romances. . . . ” Unfortunately, the rest of the note is now essentially unreadable. Elsewhere,

358

cervantes in seventeenth-century england

judging from the handwriting, it was the sensibility of a later time that inspired someone to juxtapose a comment on the grave of “Major G– Best of Irish Commanders” with a poem on Don Quixote’s tomb. 630. Heylyn, Peter, Cosmographie. H1695. UMI 789:34 and UMI 566:3 (as H1698a)

For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona (DQ 1.29 et seq.), and to Sancho Panza’s island of Barataria (DQ 2.45 et seq.), see H1689 (1652); in this edition, the passage is found on pp. 161–2 (4th pagination; sig. V5r–v ). 631. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3229B. UMI 1797:31

For a reference to Don Quixote and Sancho and an allusion to DQ 1.8, see L3225 (1659); in this edition, the passage is found on pp. 167–8. 632. Poor Robins Intelligence. N&S: 548.406 In this issue (perhaps by William Winstanley) covering events from 4–11 September, there is a reference to Sancho’s being tossed in a blanket (DQ 1.17): Aldgate. A person of condition sending her Maid to a precise Brother of St. Crespin1 in this City for a new pair of Bottomes, he was so officious as to go home with her to try them on; but in the fields taking the advantage of a convenient Post (or rather stile) Master Shoemonger presumed to go beyond his Last, and would have made Incursions into the Lowlands; but meeting with a vertuous Repulse, began with a canting while to excuse the attempt by the violence of temptation, and beg that she would not tell her Lady, which she promised, but with a Jesuitical Equivocation: for whilst he was adapting the Sandals, she acquaints a fellow servant that was her sweetheart with his rudeness; who getting together a crew of lusty fellows, when the Petulent Waxen-thumbs came forth, they courteously received him into a blanket, and with lofty agitations into the Air, made him act the second part of Sancho; till St. Hughs bones 2 at every rebound were heard to Rattle, and Seignior Cord-wainder, sore as a Malefactor from the Rack, went home to clamour of persecution, and forswearing the curiosities of concupiscence for the future.

In the issue covering events of 11–18 September, there is an account of an impotent working man of Thames Street who persuaded a woman of considerable fortune to marry him and to conceal his shortcomings. With the passage of time, he became as tyrannically abusive and imperious as one of the Great Turk’s eunuchs, put on airs, kept concubines, and disdained to work: 1 2

Precise Brother of St. Crespin: a puritanical shoemaker. St. Hugh’s bones: once a prince of Wales, Hugh became a martyred shoemaker whose bones, bequeathed to friends, were made into shoemaking tools.

1677

359

[H]e turns Gentleman, and having Equipp’d himself in all points as a Knight Errant, went some time since into the Countrey to seek Adventures and pay his devotions to a certain admired Dulcinea.

633. Winstanley, William, Poor Robin, 1677. An Almanack after a New Fashion. A2196. UMI 1494:22 Under the heading “Observations for January,” “Don Quixot” is celebrated on 22 January (sig. A5r ); and under the heading “Observations for February,” “Sancho Panca” is celebrated on 15 February (sig. A6r ). At the end of the almanac proper, there is a page headed “The Contents of the Almanack.” The tenth item begins: Ass-trological observations and predictions, according to the unerring rules of Sancho Pancha, and Lazarillo de Tormes. These are the things you in our Book may find, And read them ore (if that you be not blind.) (sig. B8v )

In “Another As-trological Scheme whereby may be predicted many strange and wonderful things” (configured for the “Latitude of Tyborn”3 ), “Sancho Panca” is featured in the third house; others featured are Moll Cutpurse, Lazarillo, Squire Dun, Guido Faux, Scoggin, Tarlton, Bevis, Old Guy, Reynard Fox, Guzman, and Framion4 (sig. C8r ). In a comment on the “As-trological Scheme,” the prognosticator refers to Sancho Panza, Don Quixote, and Dulcinea del Toboso: This Scheme or the like as near as I can remember was erected by Sancho Panca at such time as his master Don Quixot was Suitor to the Lady Dulcina del Toboso, about a hundred and fifty years ago, I was then but a little Lad, but Sancho said that he found apparently by the Scheme if his master went forwards in his Catterwauling he was in great danger of being Cornuted.5 (sig. C8r )

634. Winstanley, William, Poor Robin. 1677: or, A Yea-and-Nay-Almanack. A2219A. UMI 2613:5 Still another almanac by the indefatigable William Winstanley—a writer who would continue to produce thousands of almanacs annually throughout the rest of the century—this 1677 issue purports to be “For the People called by 3 4

5

Tyborn: Tyburn was the site of the Middlesex gallows. Among the names not noted here earlier are: “Squire Dun,” either a hangman or a man who pesters to be paid (OED); “Guido Faux,” previously referred to as Guy (who sometimes called himself “Guido”) Fawkes, famed for his part in a plot to blow up Parliament and most of the royal family in 1605; John Scoggin, jester to Edward IV, remembered for The Jestes of Skogyn (c.1570); “Tarlton,” Richard Tarlton, a comic actor in Elizabeth’s day, compiler of Tarlton’s Jests (1613); “Old Guy,” an effigy representing Guy Fawkes and made to be carried about, then burned, on 5 November; “Reynard Fox,” the anthropomorphic protagonist of the Roman a Renart (c.1175–1250); and “Framion,” probably Francion, from the Histoire comique de Francion of Charles Sorel (1582?– 1674). Cornuted: referring, of course, to the cuckold’s traditional horns.

360

cervantes in seventeenth-century england

the Men of the World Quakers . . . Given forth by Poor Robin, a Friend to the Light.” The text, however, proves that Robin is no great friend of those who claim guidance from the inner light. Under the heading “Enthusiams on the Fifth Month,” and making use of the traditional association of madness and the midsummer moon, the writer alludes, probably, to Don Quixote: This Month, We the People . . . shall not need to fear Bread; for by reason of the effects of the Midsummer-Moon, we shall have store of Wind-Mills in our Heads, so that we shall be full of Rhapsodies, and Revelations, and Jimcracks, and Whirligigs. (sig. B3r )

@

1678

#

635. Brome, Henry, “Catalogue of Books” in Marianna d’Alcoforado’s [i.e. Gabriel Joseph de Lavergne, Vicomte de Guilleragues’s] Five Love-Letters from a Nun. A889. UMI 4:8 At the back of this translation by Sir Roger L’Estrange there is a catalogue of books for sale in a bookshop in London. Under the heading “Books printed for and sold by H. Brome, since the dreadful fire of London 1666, to 1678”: “The History of Don Quixot” (no pagination, no signature). 636. Butler, Samuel, Hudibras. The First and Second Parts. B6312. UMI 784:8

For a likely allusion to Don Quixote, references to Don Quixote and Sancho Panza, echoes of DQ 1.2, 2.51, 2.6, 1.3, and allusions to DQ 1.18, 1.17, see B6296 (1663); in this edition, the passages are found on pp. 2, 20, 58, 74, 105, 106, 153. For an echo of DQ 2.35 in Hudibras, 2.1.276; a reference to Don Quixote and Dulcinea, an allusion to DQ 2.35 in Hudibras, 2.1.875 and another in Hudibras, 2.2.437–38, see B6309 (1664); in this edition, the passages are found on pp. 238, 272, 300, 380–1. For a reference to Don Quixote, an allusion to DQ 1.8 in Butler’s own annotation of Hudibras, 2.2.15–19, and an allusion to DQ 2.59 in Hudibras, 2.3.992 ff., see B6311 (1674); in this edition, the passage is found on p. 404. 637. Butler, Samuel, Hudibras. The Third and Last Part. B6313. UMI 57:11. Hn, CLC

Wilders holds that in Hudibras, 3.1.287 Butler appears to echo Don Quixote’s frequent invocation of Dulcinea’s name (DQ 1.3): In hast, I snatch’d my weapon up, And gave their Hellish Rage a stop. Call’d thrice upon your Name, and fell Couragiously, on Sidrophel.1

(pp. 17–18)

Other editions in 1678: B6314 (UMI 840:6), pp. 17–18. Other editions: B6315 (1679), p. 16; B6316 (1680), p. 16; B6317 (1684), p. 16; B6317A (1689), p. 16; B6318 (1694), p. 16. Also found in Hudibras in Three Parts: B6319 (1684), p. 16; B6320 (1689), p. 16; B6321 (1694), p. 16; B6321A (1700); B6322 (1700). Also found in Hudibras. The First [and Second and Third]Part: B6305 (1700), pp. 14–15. 1

Sidrophel: introduced in Hudibras, 2.3, Sidrophel (i.e. “star-lover”), a foe to Hudibras, is a cheating wizard—and a sendup of the astrologer William Lilly (1602–1681), q.v.

362

cervantes in seventeenth-century england

Also found in Hudibras Compleat. In Three Parts: B6322A (1700), pp. 14–15. 638. Crouch, Samuel, “Books Printed,” in Aphra Behn’s The Lives of Sundry Notorious Villains. B1739. UMI 167:7 Following an epistle addressed “To the Reader,” there is an advertisement headed “Books Printed for, and to be sold by, Sam. Crouch, at the Princes Arms at the Corner of Popes head-ally next Cornhill.” Among others is: “The History of the valorous and witty Knight Errant, Don Quixot of the Mancha” (sig. A5r ), apparently the edition of 1652. 639. Dryden, John, Sir Martin Mar-All: or, The Feign’d Innocence. D2362. UMI 688:7 For an allusion to Don Quixote’s attack on a windmill (DQ 1.8) in 4.1, see D2359 (1668); in this edition, the passage is found on p. 33. 640. Duffett, Thomas, Psyche Debauch’d. D2452. UMI 209:7 In this burlesque by Duffett (fl. 1673–6), based on a dramatic opera called Psyche (1675) by Thomas Shadwell (c.1640–1692), a priest invokes a number of “deities” to come to the aid of the work “because ’tis very silly” (p. 23). Since Don Quixote is named in what proves to be a rather long list of presumably apposite figures, it may be useful to note some of them here: James Naylor (a charismatic Quaker evangelist, perhaps best remembered for impersonating Christ while riding horseback in Bristol on Palm Sunday in 1656); Pope Joan (the fabled cross-dressing medieval woman); Wat Tyler (famed for his part in the peasant rebellion of 1381); “Mall” Cutpurse (i.e. Mary Frith, the famous seventeenth-century, cross-dressing thief ); Massaniello (Tomasso Aniello or Masaniello, the fisherman leader of a popular revolt against Spanish rule in Naples, 1647); Jack Straw (like Tyler, a leader of the Peasants’ Revolt); HocusPocus (the common name or nickname for a conjuror); immediately followed by “Don Quixot”; in turn followed by Jack Adams (a generic name for a fool); Mary Ambry (i.e. Ambree, a valorous English woman of Elizabethan days); Friar Bungy (i.e. Thomas Bungay, a distinguished Franciscan friar who came to be remembered as a minor medieval wizard, usually associated with Friar Bacon); and William Lilly (the well-known astrologer of the latter 1600s; see Fig. 21). In 4.1 two men and a bear perform a song and dance which show the manner in which two princes kill the bear; the chorus of their song refers to Don Quixote: Among Knights errant, you shall not Give place to any, but Quixot.

(p. 51)

Later in the work Duffet mentions also the barber’s basin that Don Quixote takes to be the helmet of a warrior king (DQ 1.21). In a passage to be spoken by Tag-rag (one of the five “Common Prisoners”) and Nick (Prince Nicholas, who

1678

363

21. William Brommerton’s Confidence Dismounted, subtitled The Astronomers Knavery Anatomized (1652), is one of a number of works satirizing the prediction by the astrologer William Lilly, who predicted that on Black Monday, 29 March 1652, a terrible eclipse would occur. Lilly is shown on the title page peering into a three-barreled telescope, presumably viewing such things as caused some people to hang themselves, some to lie in bed fasting, and some not to open their shops.

364

cervantes in seventeenth-century england

is in love with Princess None-so-fair), there is some uncertainty as to whether a certain detached head is that of old Gammer Readstreak2 or Bruine, “the White Bear of Norwich.” Without naming Don Quixote, Don Quixote, or Cervantes, Nick assumes that his auditors will understand when he comments: The Court’s bewitch’d, and the head’s enchanted. . . . Why may not the Bears-head be chang’d to a Womans, as well as Mambrino’s Helmet to a Barbers bason, or a notorious Fellon to your Lordships, let the head deny it if it dares. (p. 70)

Though Don Quixote certainly was in Duffet’s mind when he wrote this passage, it would be hard to say whether or not he recalled here the enchanted head in DQ 2.62–3. 641. Dunmore, John, and Richard Chiswell, Catalogus librorum. W3612. UMI 2122:10 The London booksellers Dunmore and Chiswell planned to begin auctioning the books of Dr. Benjamin Worsley (1618–1677) “at the House over against the Hen and Chickens” in Pater Noster Row on 13 May 1678 “punctually at Nine of the Clock in the Morning.” A versatile man (physician, projector, and surveyorgeneral of forfeited estates in Ireland, among other things), Worsley had a large library. Although the title page of the Dunmore–Chiswell catalogue names only Worsley, an epistle addressed to the reader notes that actually there were “three entire Libraries” up for sale. Within the catalogue’s second section, under the heading “English in Folio,” no. 170 is “History of Don Quixot. London. 1675” (sig. Aa2v )—referring to the two-part “newly Corrected and Amended” History of the Valorous and Witty Knight Errant, Don Quixot, of the Mancha published by Robert Scott and Thomas Basset. 642. Phillips, John, Maronides: or, Virgil Travesty, Being a New Paraphrase in Burlesque Verse upon the Fifth and Sixth Book of Virgil’s Æneids. P2092. UMI 1675:19 For a reference to Don Quixote that emphasizes his fictional character, see P2091 (1673); in this edition, the passage is found on p. 60, 2nd pagination. 643. Pitt, Moses, Catalogus variorum librorum . . . ex bibliothecæ clarissimi Gisberti Voetii. V675. UMI 2537:13 John Lawler writes boldly that Moses Pitt conducted the seventh book auction held in England: “The sale was held at the White Hart, in St. Bartholomew’s Close, on November 25th , 1678.”3 Among the books of Gisbert [i.e. Gijsbert] Voet (1589–1676), Lawler says, one was the first edition of the second part of 2

3

Gammer Readstreak: this “Gammer” (the word is a country derivative of grandmother) is a character who remembers well the “tumbling and rumbling” of earlier days, but now is accused of wishing a “foul disease” on “those that Robb’d her Hen-roost” (p. 43). Book Auctions in England in the Seventeenth Century (London: Elliot Stock, 1898), 120.

1678

365

Don Quixote, Madrid, 1608 (pp. 121, 123). Since Cervantes did not complete DQ 2 until the fall of 1615, however, it would be difficult to say what edition Lawler had in mind. Lawler does not mention that in the collection of English books sold, there also was a folio edition of Don Quixote. Under the running head “Anglici Hist. & Miscell.,” lot no. 120 was “Don Quixot. 1675” (p. 91). A manuscript note in a contemporary hand in the Folger Library copy indicates that this dual 1675–1672 volume brought 7s. 6d. At Worsley’s auction in May 1678, a similar copy also sold for 7s. 6d. At the Cooper auction in June 1679, an edition of 1675 sold for 6s., and an edition of 1652 sold for 5s. 3d. At the Earl of Bristol’s sale in April 1680, Sir Kenelm Digby’s copy sold for 6s. 8d. 644. Pitt, Moses, “Book Advertisement” in Thomas Smith’s Remarks upon the Manners, Religion and Government of the Turks. S4246. UMI 580:13

At the end of this volume, Pitt added a catalogue of his wares headed “Books sold by Moses Pitt, at the Angel in St. Paul’s Church-Yard.” Among the folios, he lists “The History of Don Quixote. 1675. 10s ” (sig. Z4v ). No doubt this was the 1675–1672 edition. 645. Pitt, Moses, “List of Books for Sale” in The Six Voyages of John Baptista Tavernier Through Turky into Persia and the East-Indies. T256. UMI 43:1 To this edition is appended a catalogue, “Books sold by Moses Pitt, at the Angel in St. Paul’s Church-Yard,” in which under the heading “Folio” one finds: “The History of Don Quixote. 1675. 10s ” (no pagination, no signature). This, too, would have been the 1675–1672 volume. 646. Ranew, Nathaniel, Catalogus librorum. B4910. UMI 1610:21 and UMI 226:12 (as S681)

A bookseller at the Sign of the King’s Arms in St. Paul’s Churchyard, Ranew based the present vending on the merged libraries of Robert Greville, Baron Brooke of Beauchamps (d. 1677), and Dr. Gabriel Sangar (1608–1678), a minister and author of The Word of Faith Improved (1656). The auction was scheduled to begin on Monday, 2 December 1678, at nine o’clock in the morning, and resume (presumably after some respite) at two that afternoon, and thereafter “to Continue day by day untill all the Books are Sold” (sig. A3v ) at the Sign of the Harrow near the College of Physicians in Warwick Lane. In his opening remarks addressed “To the Reader” of this catalogue, Ranew observes that “The vending and disposal of books this Auctionary way, though heretofore a Stranger, yet of late hath . . . frequently obtained in the City of London” (sig. A3r ). Under the heading “Miscellany English Folio’s [really quartos],” immediately following “Palmerin of England,” item no. 43 is “Don. Quixot [n.p., n.d.]”

366

cervantes in seventeenth-century england

(p. 61). In the right-hand margin of a British Library copy of the catalogue, a handwritten note has recorded that the Palmerin sold for “0-1-10” and the Quixote for “0-3-0.” 647. Subligny, Adrien Thomas Perdou de, The Mock-Clelia: Being a Comical History of French Gallantries and Novels in Imitation of Dom Quixote. S6107. UMI 1269:16 This is an anonymous translation of Subligny’s mock romance, La fausse Clélie, histoire française, galante et comique (1670), which was written to parody Madeleine de Scudéry’s romances—Artamène, ou le Grand Cyrus (10 vols., 1649–53) and Clélie (10 vols., 1654–61). The heading of the first “novel” here is “Mock-Clelia, or, Madam Quixote” (p. 1; sig. B1r ), a heading that is repeated at the beginning of bk. 2 (p. 51; sig. E2r ) and is the running head throughout. While these works may be in the spirit of Cervantes’s work, there is no specific reference beyond the title “Madam Quixote.” Another edition in 1678: S6107a (UMI 1050: 16), pp. 1, 51. 648. Taylor, Jeremy, ∏ÌÈ·ıÙÔÚ. A Course of Sermons. T333. UMI 1214:15 Dean (later bishop) George Rust’s Funeral Sermon, Preached at the Obsequies of the Right Reverent Father in God Jeremy Lord Bishop of Down: Who Deceased at Lysburne August 13th 1667 (1672) is included in the fourth edition of Taylor’s Course of Sermons. For an allusion to the harmless madness of the Knight of La Mancha, see R2362 (1668); in this edition, the passage is found on p. 250 (2nd pagination). 649. Webster, John, The Dutchesse of Malfey: A Tragedy. W1223. UMI 1581:11

For strong verbal echoes in the language of 3.1 (DQ 1.22) and 3.2 (DQ 1.28) and interesting parallels between a passage in 5.5 and DQ 1.21 and DQ 2.6, see STC 25176 (1623); in this edition, the passages are found on sigs. E3v (p. 30), F1 (p. 33), L3v –4r (pp. 78–9). 650. Winstanley, William, Poor Robin . . . An Almanack after a New Fashion. A2197. UMI 1414:36 In “Observations on January,” “Don Quixot” is celebrated on 8 January (sig. A5r ). 651. Winstanley, William (?), Poor Robin’s Intelligencer Reviv’d: or, A Narrative of the Late Dreadful Battels between the Potent Prince De l’Or and the Grand Duke of Penurie. W3075. UMI 993:5 Writings, usually almanacs, by Winstanley occur here frequently under the nom de plume “Poor Robin,” but since imitators sometimes borrowed this persona, sure attribution of individual works is impossible. The most one can say of the particular eight-page pamphlet at hand is that both its highly populated

1678

367

cast of characters and its ready, ragged wit regarding the strife between wealth and poverty sound like Winstanley’s work. “Riches (or the Prince De l’Or)” is here pitted against several assistants of “Poverty,” which include Discontent, Despair, Sloth, and Carelessness (“Two Princes that are Cousen-Germans”), Repining, and one that calls to mind Don Quixote thus: Don Projectoro, Duke of the Brain-pan Windmills; One that had the same Mortal Grudge against Riches; as a cast-off Lover that rails at his Mistress because he cannot catch her. (pp. 4–5)

@

1679

#

652. Allestree, Richard, The Gentlemans Calling. A1127. UMI 680:10 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. 653. Beaumont, Francis, and John Fletcher, Fifty Comedies and Tragedies. B1582. UMI 82:3 Fletcher and Massinger’s Custom of the Country is the fifth play in this collection; see B1581 (1647) concerning its indebtedness to Cervantes’s Persiles y Sigismunda. Fletcher’s Rule a Wife and Have a Wife, for which Cervantes’s Novelas ejemplares is a source, is the fourteenth play in this edition; see STC 11073 (1640). Fletcher’s The Chances is the twentieth play in this collection and indebted to Cervantes’s Novelas ejemplares; see B1581 (1647). Fletcher’s The Pilgrim is the twenty-fifth play in this edition; DQ 2.1 was almost certainly the source of a scene in Act 3; see B1581 (1647). Fletcher and Massinger’s The Prophetess is the twenty-seventh play in the collection and is sometimes thought to have a character modeled on Sancho Panza; see B1581. Fletcher’s Love’s Pilgrimage (perhaps with Beaumont and also passages from Ben Jonson) is the thirty-first play in this edition and indebted to the Novelas ejemplares; see B1581 (1647). Fletcher and Beaumont’s The Coxcomb, for which Cervantes’s El curioso impertinente is a plausible major source, is the forty-second play in this edition; see B1581 (1647). 654. Bedloe, William (?), or Thomas Walker (?), The Excommunicated Prince: or, The False Relique. B1676. UMI 167:4 The title page of The Excommunicated Prince goes on to describe this work as “Being the Popish PLOT in a PLAY,” clearly referring to the so-called “Popish Plot” that had emerged in England during the preceding year, when Titus Oates and others began spreading rumors that a Roman Catholic conspiracy had formed to murder Protestants, burn London, kill Charles II, and place James, Duke of York, on the throne. The book itself, however, is something of a marketing scam. Though the play concerns religion, government, and murder, even conspirators “travelling into England,” the plot is specifically about “Teimurazez, Prince of Georgia, Excommunicated by the Pope” (sig. b3r )—i.e., Theimuraz, King of Georgia (1629–1634). Be all this as it may,

1679

369

the second scene of the fifth act of The Excommunicated Prince is set in a temple filled with false relics. An assembly kneels before a reliquary while a Jesuit explains that it contains the jaw-bone of St. Patrick, the shin-bone of St. David, and other objects associated with preposterous “miracles.” The author has Zolazer refer to Don Quixote in an aside: This drowns the Noise of Don Quixot’s Feats, And is so extravagant a Romance; that it must owe It’s whole Invention to Bacchus his Orgies. (p. 38)

655. Brome, Henry, “Book List” in Seneca’s Morals Abstracted in Three Parts. S2522. UMI 947:23 Placed immediately before “SENECA’S LIFE and Death” (sig. B1r ) in this tripartite volume “abstracted” by Roger L’Estrange, there is a categorized listing of “BOOKS Printed for, and sold by H. Brome, since the dreadful Fire of LONDON 1666, to 1677.” Here, in an eleven-item list of volumes under the rubric “Histories,” the fifth item, following “The History of the Three last Grand Seigniors” (i.e. The History of . . . the Three Last Grand Signiors, translated from the French of François de Chassepol by John Evelyn, 1666) and itself followed by “Bishop Wilkins’s Real Character, Fol.” (i.e., John Wilkins, An Essay Towards a Real Character, 1668), is “The History of Don Quixot, Fol.” This appears to have been The History of the Valorous and Witty-Knight-Errant Don Quixote (pt. 1, 1675; pt. 2, 1672). 656. Butler, Samuel, Hudibras. The Third and Last Part. B6315. UMI 910:10

For an echo of DQ 1.3 in Hudibras, 3.1.287, see B6313 (1678); in this edition, the passage is found on p. 16. 657. Cooper, William, Catalogus librorum. W1077. UMI 2558:10 Cooper (1639–1689) was a bookseller and sometime writer whose main interests were occult, scientific, and medical books in English, in particular works concerning alchemy and chemical medicine. He is notable also—here and elsewhere—as the man who, in 1676, may have been England’s first book auctioneer.1 Cooper’s auction of books belonging to Stephen Watkins, Dr. Thomas Sherley, and Richard Chiswel began on 2 June 1679. Among the volumes offered for sale at the Golden Lion in “Pater-noster-Row,” London, lot no. 110 is a folio edition: “The History of the Valorous and Witty Kt. Don Quixote— Lond[on] 1652” (sig. A2r , 2nd pagination). 1

Stanton J. Linden, Oxford DNB, 13:289–90.

370

cervantes in seventeenth-century england

658. The Country Club. A Poem. C6525. UMI 1421:6 This anonymous five-page poem was published “for Walter Kettiby at the Bishop’s Head in St. Paul’s Church-yard.” “Tir’d with repeated follies of the Town,” its writer decides to travel some three miles out of the city, where he might “far Cheaper buy an hours Laugh” (sig. A1r ). Once in the countryside, he stops at the sign of the Anchor, where a variety of speakers speak, and one of the latter, after a “weighty pause,” takes up the subject of horses. Mentioning not only Don Quixote’s mount but also Sancho Panza’s, he writes: I’de as lieve Roan should have head like to Buffalo’s, As such a Jobber Nole as had Bucephalus.2 . . . . . . . . And yet on to’ther side, I would acquaint ye, I doat not on a raw-bon’d Rosinante Ah dapple Gray! there was a Mare! as slim ’twas, As Gennit got o’th’Wind on Mount Olympus. (p. 23; sig. C4r )

By using the team “dapple Gram,” the writer calls to mind the name “Dapple” that Shelton, not Cervantes, bestowed on the ass. 659. Ellis, Clement, The Gentile Sinner: or, England’s Brave Gentleman. E561. UMI 761:7 For a reference to the popularity of Don Quixote and its influence on the beau monde, see E556 (1660); in this edition, the passage is found on p. 32. 660. An Exclamation Against Julian, Secretary to the Muses; with the Character of a Libeller. By a Person of Quality. E3844. UMI 788: 6 and Early English Books: Tract Supplement A2:2 (839.m.22[27])

This “Epistle,” sometimes attributed tentatively to Dryden (who is called a “drone” in the poem), is much more likely the work of George Villiers, second Duke of Buckingham, or one of his carefree crew.3 The target and feigned recipient of the piece is Robert Julian, a self-made operator in the business of receiving, copying, and disseminating manuscript verse that could not be printed because of libel and licensing laws. As this “Epistle” puts the case, “Thou Julian . . . | Dost from this dung thy well-pickd guineas gather[.] | All mischief ’s thine; transcribing, thou dost stoop | From lofty Middlesex to lowly Scroope”—the courtier Charles Sackville having been created the Earl of Middlesex in April 1675, and Sir Carr Scroope being one whose “scum at last boils up into a song.” In another passage on Scroope, the writer alludes to Don Quixote: 2 3

The “Jobber Nole” (i.e., jobbernowl, blockhead [OED]) who rode Bucephalus was Alexander the Great. Most of the information given here is drawn from Poems on Affairs of State: Augustan Satirical Verse, 1660–1714, vol. 1, ed. George de F. Lord (New Haven: Yale University Press, 1963), where the poem is both reprinted and helpfully annotated (pp. 387–91).

1679 A Knight there is, if thou canst gain his Grace, Known by the Name of the Hard-favor’d Face; 4 For Prowess of the Pen renown’d is he; From Don Quixot descended lineally: And though, like him, unfortunate he prove, Undaunted in Attempts of Wit and Love.

371

(pp. 1–2)

661. Lluelyn, Martin, Men-Miracles. With Other Poems. L2627. UMI 1425:25

For an allusion to Don Quixote’s fight with a windmill (DQ 1.8), see L2625 (1646); in this edition, the passage is found on p. 64. 662. N., H., 1679. A Yea and Nay Almanack for the People Call’d by the Men of the World Quakers. A1947b. UMI 931:49 In the second part of this almanac there is an allusion to Don Quixote in a section headed “How our Friend James Naylor rode in Triumph through Bristol upon an Asse.” After Naylor (1618–1660), a charismatic preacher, was released from prison in Exeter for disturbing the peace by unauthorized preaching, he rode naked through Wells and Glastonbury. [T]he wondring people staring upon him more than the Birds do at an Owle by the day-light, or than the Spaniards did at the renowned Hero, Don Quixot, as you may read in the volumes of our two friends Books, Gusman and Buscon.5 (sig. C3r )

For his perceived excesses Naylor in subsequent years was variously imprisoned, branded, pilloried, pierced, and whipped. 663. A New Satyricall Ballad of the Licentiousness of the Times. N748. UMI 1708:26; and 2124.1:116

At first glance one might suppose that this ballad on licentiousness concerns the sensual debauchery of the day; it is, in fact, aimed at the unbridled debauchery of the press. When the licensing act expired in 1679, the pamphleteers, balladists, and printers (and, of course, anyone else) were all free to sink as low as they wished. The disgusted writer of this present ballad therefore proclaims in the opening stanza: The devil has left his puritanical dress, And now like an Hawker attends on the Press, That he might through the Town Sedition disperse, In Pamphlets, and Ballads, in prose and in Verse.

In the fifth stanza he transforms a couple of writers (a versifier and a scribbler of prose) into Don Quixotes who sally off on a nag he calls Rumor. 4 5

Hard-favor’d Face: in 1612 Thomas Shelton translated the title as “Il favoured face” (DQ 1.19, p. 161). H. N. recalls two of Spain’s greatest picaresque narratives, Alemán’s Guzmán (trans. by James Mabbe) and Quevedo’s Buscón (trans. by John Davies of Kidwelly).

372

cervantes in seventeenth-century england

More particularly, both writers fall to the task of attacking some windmills, an allusion to DQ 1.8: Here one doth on this side his Verses oppose, Up starts another and justs 6 with him in prose, On Rumor a Jade, they get up, and mount her, And so like Don Quixot with Wind-mills Encounter. [p. 1]

664. Pitt, Moses, Catalogus variorum librorum apud Theatrum Sheldonianum novissimis annis impressorum. C1457. UMI 1121:3 Pitt offered a collection of books for sale by auction in Petty Canon’s Hall on the north side of St. Paul’s Churchyard on 24 February 1679. In his catalogue, under the heading “Folio,”one finds “The History of Don Quixot. 1675” (p. 1; sig. A2r ). 665. Reynolds, John, The Triumphs of Gods Revenge. R1313. UMI 576:9 For a reference to Cervantes in Antonio and Berinthia, in which a character demonstrates the popularity among women readers of Cervantes’s “Historie”— which might be taken to refer either to The History of . . . Don-Quixote (pt. 1) or The Travels of Persiles and Sigismunda. A Northern History, see STC 20943.3 (1622); in this edition, the passage is found on p. 78. 666. Winstanley, William, Poor Robin 1679. An Almanack after a New Fashion. A2198. UMI 1393:5 In “Observations on February,” “Sancho Pancho” is celebrated on 19 February (sig. A6r ). Don Quixote is featured in the seventh house in a diagram called “The Asstrological Scheam” along with other fictional and historical personages such as Moll Cut-Purse, Madam Moders, Dick Tarlton, Tom Scott (the Rumper), and Kilmadox the Butcher (sig. C6v ). This typically scrambled Winstanley lineup calls forth Mary Frith, who early in the century was the pipe-smoking crossdresser known as Moll Cut-Purse. Equally conspicuous toward the end of the century was Mary Carleton née Moders, a chameleon scam-artist who gained her greatest fame by passing herself off as a German princess. Richard Tarlton, by this time long gone from the stage (d. 1588), was still one of England’s bestremembered clowns. And Thomas Scott, one of the mid-century regicides, was known widely for his diehard opposition to disbanding the Rump Parliament (dissolved in 1660; see Fig. 17, p. 237). The problematic figure here is “Kilmadox the Butcher”—though a character with this name appears in an outrageous anonymous romance called Don Juan Lamberto: or, A Comical History of the Late Times (1667). This “history” focuses on John Lambert, probably the ablest of Cromwell’s soldiers, but it also features Sir Kilmaddox as the Knight of the Bloody Cleaver, a man whose 6

Justs: jousts.

1679

373

wife, Dolcomona (i.e. Doll Common) is fancied by the arch-priest Hugo Petros (Hugh Peters). The real-life Peters certainly was credited with licentiousness. In a ballad called “Bloody News from Chelmsford in Essex,” the second quatrain refers to other writing that has been “writ how Peters Hugh, | Was Butchers Cuckold-maker.”7 Whatever Chelmsfordian truth may or may not lie beneath the surface of the tale, the vicious glee with which Peters is depicted here in the ballads and in Don Juan Lamberto may lead one to wonder if the name “Kilmaddox” is a suggestive amalgam of three common words that both target and defame Peters, at that time already deceased. In an explanation of the astrological scheme, Winstanley refers to Don Quixote and his encounter with windmills (DQ 1.8): Nor can we think that in the seventh House where Libra rules the roost, that it is inhabited by only Grocers, Hop-merchants,8 and such as use the Balance; no verily, because that Balance there is of so just and equal a poize; other Tradesmen for ought I know, may have as good right to that place as they: and therefore instead of the equal Balance, we have placed there Don Quixot the Spanish Knight-Errant, who was in his time a great killer of Gyants, and encounterer of Windmills. (sig. C7r )

7 8

The Bagford Ballads: Illustrating the Last Years ot the Stuarts, ed. Joseph Woodfall Ebsworth (Hertford: printed for the Ballad Society by S. Austin, 1878), 736. Hop-merchants: dealers in hops used in brewing.

@

1680

#

667. B., B., “The Preface” in Hattigé: or, The Amours of the King of Tamaran. A Novel. B4351. UMI 1628:16 Whoever wrote Hattigé, ou Les amours du Roy de Tamaran nouvelle, most likely Gabriel de Brémond (1645–after 1705), the book was a likely candidate for translation to English. Set in Tunis, it is a thinly disguised roman á clef depicting the affairs of Charles II with Barbara Palmer, Duchess of Cleveland. Well might the translator wish to claim anonymity. In “The Preface of the Translator,” B. B. notes the popularity of Cervantes: I think it [this novel] equal to any of Scaroons, or the more Famed D. Miquel [sic] de Cervantes, and hath been esteemed so abroad. (sig. A5r )

“Scaroon” is, of course, Paul Scarron (1610–1660), remembered mainly for his Roman comique (1651–7). Another edition: B4352 (1683), UMI 2088: 8, sig. A5r . 668. Butler, Samuel, Hudibras. The Third and Last Part. B6316. UMI 784:9

For an allusion to DQ 1.3 in Hudibras, 3.1.287, see C6313 (1678); in this edition, the passage is found on p. 16. 669. C., I. or J., The Gyant Whipt by His Godmother: or, A Loving Epistle Wrote to the Most Notorious Observator, Monsieur L’Estrange. C55a. UMI 861:37 (identified as C49) Identifying herself as “Anti-Papistical” and representing the “Shee-Whigs,” the author addresses Roger L’Estrange (1616–1704), who in 1663 had been appointed licenser of the press and surveyor of printing presses. Calling herself his godmother, the writer calls him “Crackfart” as well as “Don Quixot” and refers to Mambrino’s helmet (DQ 1.21): As I am a true Sybill1 . . . I will tell thee, if thou wilt write Canting and Libelling out of the Kings Dominions, you must write your Worship out of the Kings Dominions, for Nonsense and Libels drop from thee continually, as naturally as Maggots from a Sheeps Tail, or Lice from a Beggar; I am sure the Sybil does not overshoot her self in this. Now flourish your Mighty Pen against Peticoats, do English Don Quixot, do, tilt at a Woman, and see what a pat the twerling Tongue of a feeble Femaile, will take thy empty Noodle, that shall turn the Brains in thy Calves-Head, notwithstanding thy brazen Forhead, more Brass than Mambrino’s Helmet, or the Barbers Bason, Pollish’d over with Impudence. (Verso of a broadsheet) 1

Sybill: like the sibyls of ancient Greece and Rome, she considers herself an inspired prophetess.

1680

375

Probably admired by few, L’Estrange did, indeed, in 1680, find it prudent to flee from England. In London, meanwhile, a mob burned him in effigy. 670. C., J., Peter’s Patern: or, The Perfect Path to Worldly Happiness. C785. UMI 841:24 For references to Don Quixote and to Dulcinea, see C783A (1659); in this edition, the passage is found on p. 4. 671. A Catalogue of Two Choice and Considerable Libraries. C1412. UMI 485:7

The libraries of two eminent, learned, and deceased men were announced for sale by auction on 22 November 1680 at Bridge’s Coffee House in Pope’s Head Alley, Cornhill. In the catalogue, under the heading “Itallici, Gallici, Hisp. in Octavo, &c.,” lot No. 83 is “Primera parte de Don Quixote de la Mancha. En Bruscelas [i.e. Brussels], 1617” (p. 19; sig. D2r ). 672. Catalogus variorum librorum in selectissimis bibliothecis doctissimorum virorum. S6031. UMI 1515:12 The libraries of five men said to be well known for piety and learning, Dr. Henry Stubbe of London, Dr. Dillingham of Oundle in Northamptonshire, Mr. Thomas Vincent of London, Mr. Cawton of Westminster, and Mr. John Dunton, were offered for sale by auction on 29 November 1680. Whoever it was in this group who had acquired Cervantine books, at least three (Stubbe, Vincent, and Cawton) had served as nonconformist ministers and published books of their own. In the catalogue, under the heading “English Books in Folio, Small,” no. 118 is “Don Quixot’s History—–1675” (p. 6, 2nd pagination); no. 154: “Exemplary Novels in 6 Books——1640” (p. 7, 2nd pagination); and no. 201 is “Gattons [i.e. Gayton’s] Notes upon Don Quixot——1654” (p. 8, 2nd pagination). 673. Cellier, Elizabeth, Malice Defeated. C1661. UMI 449:14 During the great scare of anti-Catholic plots generated by Titus Oates, including the threat that Catholics planned to kill the king, Elizabeth Cellier (fl. 1668–88), a decidedly upscale London midwife, made repeated charitable visits to relieve the sufferings of imprisoned Catholics. Accused and tried for high treason, she was variously incarcerated and released, and at one point managed in 1680 to publish this self-vindicating account of the affair (see Fig. 22). Part of the story is that she befriended one Thomas Dangerfield (1654– 1685), who was apparently a charming fellow but eventually proved to be a counterfeiter, an informer, and a dangerously malicious prevaricator who turned against her. Thoroughly enlightened at last and writing of him here in Malice Defeated, Cellier has occasion to mention Don Quixote mounted on Rocinante and tilting at a windmill (DQ 1.8):

376

cervantes in seventeenth-century england

22. Mrs. Elizabeth Cellier (“The Popish Midwife”) is here depicted serving one of her three sentences at a pillory in the Strand, London. Since she has been allowed to sit rather than stand, and since she is wearing a mantle, hood, gloves, and ample skirts, she is at least somewhat safeguarded this time from most of the objects likely to be hurled by agitated protestants of various persuasions. The most noteworthy of all her defenses is probably the large and unorthodox, paddle-like wooden shield in her hand.

1680

377

[I] did employ him as a Messenger to go up and down to fetch Victuals and Drink for the Witnesses, to wait on them, and to help them into Court, call Coaches, and other such like Services, which he performed so well, that several persons asked me, whose diligent Footman he was, for indeed, being in an old Frize-Coat2 lin’d with Blew, Blew Stockings and Breeches, and a Grey Hat tuckt up, to prevent flapping about his Ears, he could not well be taken for any other than an ill clad Footman, though now he be Dubb’d Knight of the Post,3 and wear a Pearl in his Ear, to shew that the Executioners were kind to him, and did not Nail his Ears to the Pillory, neither at Salusbury, Wilton, Winborne, nor any of the other places where he was Mounted upon the Wooden Engine, 4 and peep’d through it like Don Quicksot through his Helmet, when he was mounted upon Rosinant, and going to encounter with the Windmil. (pp. 12–13; sig. D1v –2r )

674. Clavell, Robert, The General Catalogue of Books Printed in England Since the Dreadful Fire of London MDCLXVI to the End of Trinity-term MDCLXXX. C4601. UMI 657:5 His own bookshop in Ivy Lane having been destroyed in London’s Great Fire of 1666, Robert Clavell (c.1633–1711) here sends forth this ambitious catalogue from “the Peacock, in St. Paul’s Church-Yard.” In some remarks “To the Reader” he knocks the “late Method used in Selling Books by auction in London.” “I suppose,” he writes, “that many men have paid dear for their experience in this way.” In the catalogue itself, in a section headed “History in Folio,” he includes the “History of Don Quixot. Printed for R. Scot, T. Basset, J. Wright, and R. Chiswel” (p. 38). 675. The Coffee-House Dialogue Examined and Refuted by Some Neighbours in the Country. C4885. UMI 2226:6 With the popularity of coffee houses decidedly on the rise, their value as gathering places for conversation became increasingly apparent. Here, in a twosided sheet discussing a pamphlet called A Coffee-House Dialogue, a Mr. B. takes issue with the logic of the writer. He refers first and somewhat distantly to the “Capritious Humors of his . . . Wind-Mill pate” (p. 1), then quite specifically compares him with Don Quixote and his famous fight in DQ 1.8: [W]as not this a brave Fellow to be in Print (thus far Don Quixott, who will needs Fight with the Wind-mill of his own Brain, for want of better employment: and alledge one mans Writings to cut another mans Throat . . . ). [C]ertainly such a man deserves to be Comptroller General of all Publick Proceedings, rather than a Chair-man, as without sense he (not for want of Folly) calls Mr. „. (p. 2) 2 3 4

Frize: frieze is a heavy woolen cloth. Knight of the Post: a man who can be hired to swear anything. Wooden Engine: pillory.

378

cervantes in seventeenth-century england

676. D., R., A Satyr Against Satyrs: or, St. Peter’s Vision Transubstantiated. D83. UMI 913:14 In this satire against Roman Catholicism, the narrator describes the first and second “Babylonish legions” marching rank and file into the world to work mischief; in doing so, he alludes to DQ 1.22: Still in a row like Israel’s golden calves5 They marched; or Quixot’s Rosary of Knaves. 6 (p. 6; sig. A3v ) Next to these Quixots in a medley brave, There march’d a flock of Sancho’ s grave, grave, grave. And yet ’tis strange they march’d, their youthly sins By Pox and Ulcers had eat all their shins. They spoke sententious sayings, but alas, Like Sancho thundering riddles to his Ass. And further to improve my Metaphors, Such long-ear’d Asses were their Auditors. (p. 11; sig. B2r )

As the sixth legion passes in review, there are yet other allusions to Don Quixote: These are the Heroes, that our cause so brag on; Knight errants to subdue that pestilent Dragon; That Northern Heresie 7 that domineers, And has done so here for these many years. Distressed Babilon’s Madams so set free, They know the rules well of Knight Errantry. Sure they can’t chuse, who did so often con Don Quixot’s Chapters and the Alcoran. (p. 22; sig. C3v )

677. Digby, George, Bibliotheca Digbeiana: sive, Catalogus librorum in variis linguis editorum, quos post Kenelmum Digbeium eruditiss. Virum possedit illustrissimus Georgius Comes Bristol nuper defunctus. D1421. UMI 1307:17 Born in Madrid while his father was ambassador there, George Digby (1612– 1677) led a restless and varied life that included conversion to Roman Catholicism, friendship with Don John of Austria, and the adaptation of three Spanish comedies performed in London in the 1660s: Elvira (adapted from Calderón’s No siempre lo peor es cierto), ’Tis Better Than It Was (from Calderón’s Mejor está estaba), and Worse and Worse (from Calderón’s Peor está que estaba). After his father’s death he became the second Earl of Bristol. As the extended title here suggests, an unknown number of Bristol’s books to be sold were from the collection of his kinsman Sir Kenelm Digby (1603– 1665). Anonymously put up for sale at an auction on 19 April 1680, the 5 6 7

Golden calves: 1 Kings 12:28; 2 Kings 10:29. Rosary of Knaves: DQ 1.22, wherein Don Quixote sets free a dozen or so galley-slaves who are chained together like beads on a string. Northern heresy: Presbyterianism.

1680

379

conjoined collection included three books by Cervantes. Under the heading “Libri Hispanici in Quarto,” no. 54 is “Don Quixote de la Mancha, por Mig. de Cervantes, &c. Madrid 1608” (p. 67). According to the marked copy of the catalogue in the British Library, this work and the Segunda parte de la Vida de Guzman de Alfarache (Lisbon, 1605) together brought 1s. 2d. Under the heading “Libri Hispanici in Octavo,” no. 9 is the “[Historia] De Pirsiles [sic], y Sigismunda, por M. De Cervantes Saavedra. 1619” (p. 67). This volume brought 1s. Under the heading “English in Folio,” no. 113 is “[History] of the Witty Knight Errant and Spaniard Don Quixot. 1675” (p. 82), which brought 6s. 8d . 678. D’Urfey, Thomas, The Virtuous Wife: or, Good Luck at Last. D2790. UMI 275:18 One of the earlier plays by Thomas D’Urfey (1653–1723), this comedy set in “Chelsey” was first performed at the Duke’s Theater in 1679. Its characters include Beauford and Brainworm, the first “A young wild unfortunate fellow, always engaging himself in Intrigues, but never prospering in any,” and the second “A clownish fellow[,] servant to Beauford ” (p. preceding sig. B1r ). About halfway through the opening act, Beauford compares himself with Don Quixote: [Beauford]. No sirrah; you must help me to contrive how to speak with Olivia. . . . But d’ye hear, do’nt [sic] let me relye upon my own invention, for ’tis forty to one but I shall spoil all, for I am the unluckiest fellow at an Intrigue, I believe, that ever breath’d. I have run through more hazards than ever Don Quixot did, and I think I have often escap’d as ill. [Brainworm]. No faith Sir, you have done very well for your time, I think you were not pumpt and beaten above three times about your last business, were you Sir? (p. 6)

679. “Epistle” in The Poems of Horace, Rendered in English and Paraphrased. The Second Edition with Alterations. H2784. UMI 742:20 For a reference to Mambrino’s helmet (DQ 1.21), see H2783a (1671); in this edition, the passage is found on sig. A8v . 680. Godwyn, Morgan, The Negro’s & Indians Advocate, Suing for Their Admission into the Church. G971. UMI 916:9 In an attempt to encourage New World planters to instruct Indians and Negroes in the principles of Christian religion, Morgan Godwyn (1640– 1685/1709?), a clergyman and missionary who had worked in both Virginia and Barbados, claimed boldly that “Negro’s (both Slaves and others) have naturally an equal Right with other Men, to the Exercise and Privileges of Religion; of which ’tis most unjust in any part to deprive them” (p. 9). In a discussion of “PreAdamism” and the existence of cities in the days of Cain and Abel, Godwyn alludes to Don Quixote:

380

cervantes in seventeenth-century england

[I]n Virginia . . . there is neither Town nor City (their Metropolis8 excepted, lately consisting of some twelve or fourteen Families, but since the late Rebellion and Burning of it, I suppose of fewer). . . . But this Eutopian or Atlantean City, having no Foundation nor being, any where extant, but in our Quixots rambling Fancy, there is no need to produce either Builders, or Inhabitants for it. (p. 17)

681. An Hue and Cry after R. Ls . H3283. UMI 742:24 This pamphlet, “Printed for Tom. Tell-Troth” without date or place of publication, satirizes the outspoken writer, royalist, and unrelentingly rigorous “surveyor of the imprimery and printing presses,” Roger L’Estrange.9 The work characterizes L’Estrange as “a certain English Monsieur, with a certain French Name, who hath absconded himself after all his great Bravado’s, and fled from Justice, fearing to become a Popish Martyr” (sig. A1r ). All this meshes with what is known of L’Estrange and his flight from England (actually his second such flight) in 1680, when he was accused of being involved in the Popish Plot. In 1681 L’Estrange returned to England, and in 1682 he was knighted by James II, but in later years he held and then lost his office as licenser and generally fared badly. The passage quoted here compares L’Estrange with Don Quixote and alludes to DQ 1.8: [H]e usually carries about him a Cat of Nine Tails, wherewith he claws off all those that seek to discover him: He has also most commonly his chief Instrument of Sedition in his hand, his Pen, which now upon his Flight is perhaps put just behind his Ear, or else you’l find it in his Pocket, till he has another fit Opportunity to make use of it; with that Instrument he has performed more Deeds of Chivalry than ever did the Invincible Don Quixot, and rather than he will want work, he will fight with his own shadow, and assault Wind-mills of his own Creating. (p. 2)

682. Jonson, Benjamin, The Alchemist. J1007. UMI 1690:28 For a reference to Don Quixote in 4.7, see STC 14755 (1612); in this edition, the passage is found on p. 77 (sig. D3r ). 683. Jordan, Thomas, The Muses Melody in a Consort of Poetrie. J1048. UMI 1444:24

An actor until the closing of the theaters in 1642, Jordan was a more or less public figure who served as poet to the corporation of London and therefore as the deviser of lord mayors’ shows from 1671 until his death in 1685. Included in his Muses Melody are verses “On a Citizen that was so unreasonably jealous of his wife, that he durst not trust her with the neerest in blood of her own kindred.” Apparently unaware of Cervantes’s story of El celoso estremeño, Jordan compares the citizen’s ridiculous behavior with Don Quixote’s tendency 8 9

Metropolis: Jamestown. C. P. Hill, Who’s Who in Stuart Britain (London: Shepheard-Walwyn, 1988), 287.

1680

381

to imagine things which are not real. On the verso of the first page he writes: Thou sot in jealouzie, whose fantsie vents Impossibilities for Arguments: Quick-sighted Quixot, thou that art inclin’d To look about for what thou dar’st not find.

sig. [ ]2v [sic]

684. A Letter from the Lady Creswell to Madam C. the Midwife. L1529. UMI 426:10

Putatively written by one of the better-known prostitutes of the day, this Letter is a response to Elizabeth Cellier’s Malice Defeated, the self-vindicating work that Cellier published after being accused and acquitted of committing treason earlier this year (see Fig. 22, p. 376). Malice Defeated, it turned out, backfired on Cellier: accused and convicted for its libellous content (11 June 1680), she was fined £1,000 and sentenced to stand in the pillory three times. “Lady Creswell” here offers “A Lashing Repartee in ANSWER to that RAYLING LIBEL” (p. 1). The writer claims to have been awakened from a sound sleep by a bookseller who cried, “Madam Cellier’s Vindication, &c.” (p. 1), and now, having bought and read the work, she has a few questions, the first of which is: [H]ow, in the Name of Aretine,10 came you to light upon such a Don Quixot as [Thomas] Dangerfield, to carry on the honourable Designs which you were engaged in? (p. 2)

The unsigned response to this letter is laced with allusions to Don Quixote. It begins: I may seem as Mad as this Snarling Midwife, to go about to answer madness it self ; for by her Rage and Fury one would think the Gentlewoman fit Company for the Pewterers Wife in Bethlem,11 who run mad through Pride: so the Pride and vain Glory of this Womans mind makes her self believe, that she is a brave She Championess, and able to Cope with all the World. . . . But indeed I shall be at a loss of apt Words and Expressions, to set forth this She-Donna Quixot, for she encounters with many Wind-mills, and is armed Cap-a-pe12 with Impudence and Lying. . . . But Madam Celliers [sic] is one that neither fears God nor Man, for she defies all, even Captain Richardson himself.13 But have a care, Madam, you come not within his Inchanted Castle again, lest you want [i.e., lack] a Knight Errant to release you, for he is a Fell14 Gyant as you have made him. (pp. 3–4) 10 11 12 14

Though he was a good playwright, the name of Pietro Aretino (1492–1556) had long been associated with his more scandalous writing. Bethlem: known more widely as “Bedlam,” an infamous repository for the insane. 13 Cap-a-pe: i.e. from head to foot. Captain Richardson: the keeper of Newgate prison. Fell: fierce, cruel, ruthless, terrible (OED).

382

cervantes in seventeenth-century england

685. Merret, Christopher, The Character of a Compleat Physician or Naturalist. M1835b. UMI 1782:16; UMI 428:11 (as M1613) In his description of the ideal physician, Dr. Merret (M.D., Gloucester Hall, Oxford, 1643) decries those who spend their time gossiping or reading pamphlets or Don Quixote: He laughs out-right at those who spend their precious time in hearing and hunting after News, and carrying it from House to House, and those who read Lectures on Chairs, Beds, Rooms, Hangings, or on Don Quixot. (p. 7)

686. Phillips, John, Dr. Oates’s Narrative of the Popish Plot Vindicated: in an Answer to a Scurrilous and Treasonable Libel Call’d, A Vindication of the English Catholicks. P2083. UMI 772:6 Amid the truths, half-truths, and lies relating to the Popish Plot to kill the king, Phillips rises here to the defense of the tricky Titus Oates. In particular Phillips attacks A Vindication of the Inglish Catholiks from the Pretended Conspiracy Against the Life, et Goverment [sic] of His Sacred Maiesty. Discovering the Cheife [sic] Lyes & Contradictions Contained in the Narrative of Titus Oates (1680). The latter was published anonymously in Antwerp and eventually known to be the work of John Warner (1628–1692). Phillips’s attempt to demolish Warner leads to an unusual rhetorical use of Don Quixote’s windmills (DQ 1.21): ’Tis well known what opinion the rest of the Clergy have of the unlimited pride of the Jesuits in general, and their haughty advancement of themselves above their brethren; so that it was not the Deponents work either to unite or set them together by the ears; for any man with half an eye may see the Deponents intention, which was only to introduce their contemptible reflections upon the Clergy, as a circumstance to prove how curious they were in their Trayterous Instruments. But this is only a surmise of the Vindicators, and therefore for fear it should not turn to account, he brings his two never failing friends to nick it, that is, his own Averment and Attestation E .15 Very proper Don Quixot’s, and Sancta [sic] Pancha’s to encounter the Wind-mills of his own erecting. (p. 25)

687. Scroope, Carr, “In Defence of Satire.” In John Wilmot, Earl of Rochester’s Poems on Several Occasions. R1753 The 110-line poem “In Defence of Satyr” by Sir Carr Scroope (1649–1680) includes a negative sketch of Rochester. Rochester responded with verses “on the Supposed Author of In Defence of Satire,” at which point Scroope replied in “The Author’s Reply” and Rochester, in turn, with “On the Poet Ninny”— all four poems, it appears, being written in 1677.16 Somewhat oddly, the first 15

16

Averment: Phillips probably intends the word as used here to mean merely a “positive statement, assertion, or declaration”—but it also signifies “The action of proving” (OED). “Attestation E” refers to a section of Warner’s list of proofs titled “Of the Rector of Waten. That Oats was not at the Congregation. His behaviour at S. Omers, & causes of his dismission. About the Letters to the Emperour’s court, &c.” (p. 51). George de F. Lord, Poems on Affairs of State: Augustan Satirical Verse, 1660–1714, vol. 1 (New Haven: Yale University Press, 1963), 364–75.

1680

383

in the group, Carr’s “In Defence of Satire,” was published with Rochester’s poems in 1680, and within it a passage where, having just admitted his own imperfection, Carr has occasion to mention Don Quixote. Addressing himself to an imaginary critic, he writes: Sir, I confess all you have said is true; But who has not some Folly to pursue? Milo turn’d Quixot, fancy’d Battails Fights, When the fifth Bottle had encreas’d the Lights.

(pp. 47–8)

Like a modern rake who begins to see double after the fifth bottle, Milo, a great athlete in ancient Greece, finally over-reached himself by trying to split the trunk of a tree. When his hands were caught in the tree, wolves came and killed him. Other editions in 1680(?): R1754 (UMI 2096:11), p. 46; R1754a (UMI 2294:1), pp. 47–8; R1754b (UMI 1556:5), pp. 47–8. Other editions: R1755 (1685), p. 42; R1756 (1691), not present; R1757 (1696), not present. 688. Winstanley, William, Poor Robin 1680. An Almanack after a New Fashion. A2199. UMI 856:5 In “A Brief Chronology of Other Things,” there is a reference to Don Quixote, an allusion to DQ 1.8: Since the famous Spanish Knight Errant, Don Quixot of the Mancha, encountred with the Wind-mill 105 [years]. (sig. A4r )

In “Observations on January,” “Don Quixot” is celebrated on 29 January (sig. A5r ).

@

1681

#

689. Berry, Edward, “The Bookseller to the Reader,” in William Atwood’s Jus Anglorum ab antiquo: or, A Confutation of an Impotent Libel Against the Government by King, Lords, and Commons. A4175. UMI 9:11

William Atwood (d. 1705) was a lawyer whose special interest was England’s early law and its administration. Here in Jus Anglorum, one of his relatively early writings, his goal was to demolish the recent work of Robert Brady (1627?–1700), whose own aim, in Atwood’s mocking words, was to “purge the Body Politick, from the Chronical Disease of Liberty, and oppressing Load of Property” (p. 2). Very near the close of the first chapter, after assailing Brady’s views for some thirty pages (more if one counts the introductory matter), Atwood expresses satisfaction that now “we have enough to make us laugh awhile” (p. 31). Then something odd happens: there follows a brief concluding paragraph which is labeled in a shoulder note as “The Bookseller to the Reader,” and the text of the paragraph itself brings Don Quixote, his windmills, and Sancho Panza onto the scene. It reads: And thus has our Author [Atwood], like another Don Quixot, encountring the Windmils, been miserably mawld with his own Whymsies, returning too quick upon him; nor can Sancho Pancho his Squire, afford him any great Assistance by curing some literal Mistakes, which are but outward Scratches, while the inward Bruises remain. (p. 32)

Obviously the wounded party here is not Brady but Atwood, and the inserter of the one-sentence paragraph is Edward Berry, stationer, of Holborn Court in Gray’s Inn, who is identified on the title page as the person for whom the book was printed. It is therefore noteworthy that Atwood, the author of the whole, was himself admitted to Gray’s Inn in 1670 and then proceeded to become, seriatum, master of the revels there (1674–5), barrister (1674), and eventually ancient (1701)—that is, one of the senior members constituting the governing body of Gray’s Inn. 690. Birkenhead, John, The Assembly-man; Written in the Year 1647. B2962. UMI 808:20 For an allusion to Don Quixote’s shattered lance (DQ 1.8) and another to an error in Shelton’s translation, see B2961 (1662); in this edition, the passages are found on pp. 12, 13.

1681

385

691. Blount, Thomas, Glossographia: or, A Dictionary, Interpreting the Hard Words of Whatsoever Language, Now Used in Our Refined English Tongue. B3338. UMI 1416:9 For a definition of Mambrino’s helmet with a reference to Don Quixote, see B3337 (1674); in this edition, the passage is found on p. 407; sig. Dd4r . 692. A Catalogue of Books Continued, Printed and Published at London in Michaelmas Term, 1681. Number 5 Under the heading “History” here, there is a reference to an English version of one of Cervantes’s novels. It is described as: The Jealous Gentleman of Estramadure: out of (Miguel de) Cervantes Saavedra his Novels. Made English. Twelves. Price, bound, 1s. Both printed for C. Blount at the Catharine [sic] Wheel at Charing Cross; and R. Butt at the Bear and Orange Tree in Princess street, near Drury lane. (Arber, Term Catalogues, 1:461)

693. Cervantes Saavedra, Miguel de, The Jealous Gentleman of Estramadure, out of Miguel de Cervantes Savedra His Novels. BL Humanities Library Cerv. 369

This book, now very rare, offered readers of its time a fresh translation of El celoso extremeño, one of the most thought-provoking of the stories in Cervantes’s Novelas ejemplares. The only one of these novelas to appear in seventeenth-century England between its own covers, the volume is a duodecimo that was Printed for Charles Blount near the Bear-Tavern by the New-Exchange in the Strand, and Richard Butt at the Bear and Orange-Tree in Princes-street near the Horshoe-Tavern in Drury Lane. (Title page)

Cervantes’s story consists mainly of an elaborate plan to cuckold a rich and jealous old man, one Philippo de Carizale (Cervantes’s Felipo de Carrizales), who made a fortune in the New World and then settled in Seville. Cuckoldry was a common theme for mirth, of course, but neither the Spanish story nor its English translation is comic. Nevertheless, and perhaps partly to capitalize on Cervantes’s rising acclaim elsewhere as a comic writer, the book is introduced by a brief and anonymous address “TO THE READER” that begins: I have here brought you a man from Spain, on purpose to make you laugh. Not but that I might have found ridiculous cuckolds enough nearer home, but because I had no mind to expose my self, to an action of slander, for a matter of truth. (sig. A2r )

As for the translation itself, a comparison of this work with that of James Mabbe (see Cervantes entries for 1640 and 1654) soon demonstrates that the unknown later writer is not plagiarizing from his predecessor. As for quality,

386

cervantes in seventeenth-century england

both have their moments, but Mabbe demonstrates a fuller grasp of Spanish and a surer talent for prose.1 694. A Choice Collection of Wonderful Miracles, Ghosts, and Visions. C3915. UMI 1482:14

This anonymously compiled Choice Collection, which mentions Don Quixote in two of its several parts, is focused primarily and satirically on James, Duke of Monmouth (1649–1685), one of the illegitimate sons of Charles II. The first item in the collection tells of Elizabeth Parcet of Crookhorn in Somerset, a poor widow’s miserable daughter whose sores indicate that she has the King’s Evil (scrofula). Fortunately, “God the great Phisician” informs her that she will be cured if she manages to “touch some part of his [Monmouth’s] naked flesh” (p. 1). She manages to touch his hand and is cured. This story is echoed in the final item in the Choice Collection, a poem called “A Canto upon the Miraculous Cure of the Kings-Evil, performed by His Grace the D. of M.” The poem also takes into account that Monmouth was royal Master of the Horse and hence in charge of the Mews—the royal stables at Charing Cross, London. Like his father, James was a ladies’ man, and the young woman in the poem is more or less appropriately referred to as a “filly” afflicted with the bots, a horse’s disease: So to his grace of Monm. Trots, A Filly Fole that had the Bots; For still she knew, (and ’twas no News,) He keeps the Mares though not the Mews. But had you seen the Skittish Jade, You would have thought her Drunk or Mad ; For at first dash His Hand she Seiz’d, Much was th’Ambitious Heroe pleas’d. So sweetly did Don Quixot Grin; When the Maid Marrian of the Inne, He thought was some Enchanted Queen. Askt his Dead-doing-Hand to Kiss . . .

(p. 4)

Though presumably Robin Hood was well pleased by his Maid Marian, she had long since become a coarse character in England’s May games and morris dances; and though Don Quixote’s lady love was Dulcinea, his “Maid Marrian of the Inne” was Maritornes, an unusually ugly wench. A woman with one eye, bad breath, and hair like a horse’s mane, Maritornes mistakenly comes to the knight’s bed in the dark (DQ 1.16), and he, having just been thinking of King Arthur’s Queen, pulls Maritornes close to himself and, in the words of Thomas Shelton’s translation, “groped her smocke” (p. 127 in 1612 edition). 1

See Dale B. J. Randall, “A ‘New’ 17th-century English Translation of Cervantes’s El celoso extremeño,” Cervantes: Bulletin of the Cervantes Society of America 26 (2006; pub. 2008): 73–7.

1681

387

Another reference to Don Quixote in this Choice Collection follows a brief explanation that besides the royal touch for the King’s Evil, There is but One Other Natural Argument to prove the Legitimacy of this Prince, and his being the True and Right Successor; And that is the Instinct by which Lyons are taught to Reverence, and to do them Homage, without ever hurting them. (p. 2)

Hence there is to be a leonine test of Monmouth’s royalty—and a representation of Don Quixote’s attack on a windmill (DQ 1.8) is to be part of the show: Advertisement. His Grace to perform this Famous Tryal of Skill, with great Magnificense and Solemnity, order’d that his Militia, the Porters, Tinkers, and Chimney-Sweepers and Broom-men of London, together with the Squires of the Body, commonly call’d the Black-guard, should be ready with the afor said Attendants to wait upon his Person to the place of Execution, follow’d with several Pageants and artificial Devices, curiously representing the Famous Adventures of ancient Heroes, particularly, Don Quixot’s storming the Windmil for an Inchanted Castle. (p. 2)

One might wonder whether anyone who had actually read Don Quixote would forget that its hero mistook the windmills for giants. 695. Colville, Samuel, Mock Poem, Whiggs Supplication. C5426. UMI 660:11

Samuel Colville (son of John Colville of Culros and the Scottish poet Elizabeth Melville) writes here in imitation of Samuel Butler’s Hudibras. Colville’s opening words in “The Author’s Apology to the Reader” are an aphorism which he attributes to Don Quixote: Verses are like Ladies faces, good or bad, as they are fancied (saith Don Quixot). (sig. A2r )

Though reasonably diligent reading has failed to discover where Cervantes’s Don Quixote makes such an observation,2 Colville’s entire book is a moquerie. His subsequent invocation of the muse involves another claim of borrowing and apparently alludes once again to Don Quixote: With all Men to augment my Pack, By making Lines not worth a Plack:3 Some of Eight Syllabs, some of Ten: 2

3

Tom Lathrop discusses and demonstrates the sometimes surprising transmutations of Cervantes’s sayings when turned into English (Don and Tom Lathrop, “Will the Real Cervantes Please Stand Up? Cervantes in Bartlett’s Familiar Quotations,” Cervantes: Bulletin of the Cervantes Society of America 26 [2006; pub. 2008]: 181–207). Plack: a small coin used in Flanders and Brabant.

388

cervantes in seventeenth-century england Some borrowed from other Men, As Cleveland, Don, or Tass Divine: Some ill Translated from Marine.

(p. 3).

Truncating for pleasure here, Colville refers to the readily identifiable John Cleveland and Don Quixote, as well as to the somewhat more veiled Italians Torquato Tasso, famous for L’Aminta (1573) and Gerusalemme Liberata (pub. 1580–1), and Giovanni Battista Marino, remembered best for his Rime (1602) and Adone (1623). In the first passage of the poem itself, Colville introduces a stranger who resembles the man from La Mancha. I ask’d at several who he was, Some said he was Sir Hudibras, Deceived by his boulky Paunch: Some said Don Quixot de la Maunch, Which was more like then [sic] was the other, In many things he was his Brother. First, in his head were many fancies, Bred by the reading of Romances. . . . . . . . . . . . . Next, like Don Quixot, some suppose He had a Lady Del to Bose, 4 Who never budged from his side, Upon a pair of Sodds5 astride. (pp. 16–17) Thirdly, like Quixot, he a Squire, Had Zancho call’d to whet his ire, When in a fury he did wrestle With Giant, or inchanted Castle. Or like Don Quixot with Wind-Mills, . . . . . . . . . he was ready To fight a Monster for a Lady: . . . . . . . . . Lastly, on Quixots Rozinant He rode. . . . (pp. 18–19)

Other editions, with different title pages: Whiggs Supplication. A Mock-Poem, C5428 (1687), sig. A2r and pp. 2, 12–13; The Scotch Hudibras, C5427 (1692), sig. A2r and pp. 3, 14–15 [really 15–16], 18–19; Whiggs Supplication: or, A Mock Poem, C5429 (1695), sig. A2r and pp. 2, 11–13. 4 5

A dell is a wench, and to bouse or bowse is to drink heavily—both terms being common in canting; simultaneously, Del to Bose plays on the sound of Dulcinea del Toboso. Pair of Sodds: either pieces of turf used to serve as a saddle or a saddle made of canvas or cloth and stuffed with straw (OED).

1681

389

696. Dryden, John, His Majesties Declaration Defended. D2286. UMI 489:12

At this point in his life Dryden was a major poet, playwright, and critic. Here he manifests his political concerns by championing King Charles during the time of the exclusion crisis (i.e. the exclusion of Charles’s Roman Catholic brother James from the royal succession). The title for His Majesties Declaration Defended continues thus: In a letter to a friend being an answer to a seditious pamphlet, called A letter from a person of quality to his friend: concerning the kings late declaration touching the reasons which moved him to dissolve the last two parliaments at Westminster and Oxford.

In a passage comparing the king of England to a duke of Venice (he can do no wrong, can make no bad laws, can never dispose of money unwisely), Dryden refers to Sancho Panza and his governance of Barataria (a major subject in DQ 2, where it takes up much of chapters 45–53). Set up by the Duke and Duchess to be a butt, Sancho is troubled by a doctor in the way Dryden describes—though Dryden puts his own political spin on the episode: This puts me in mind of Sancho Panca in his Government of the Island of Barataria, when he was dispos’d to eat or drink, his Physitian stood up for the People, and snatch’d the dish from him in their right, because he was a publick person, and therefore the Nation must be Judges to a dram and scruple what was necessary for the sustenance of the Head of the Body politique. (p. 6)

697. Foulis, Henry, The History of Romish Treasons and Usurpations. F1641. UMI 417:8 For a reference in which “Don Quixote” is turned into a derisive adjectival phrase in order to make a point about contemporary “Schoolmen,” see F1640 (1671); in this edition, the passage is found on sig. b4r . 698. Heraclitus Ridens: . . . A Dialogue between Jest and Earnest, Concerning the Times. N&S 183.05 In issue no. 5, dated 1 March 1681, Jest reads a note he has received in the penny post; it is an invitation to celebrate the nuptials of Mrs. Joan Jealousie and Mr. Popular Fears. In a discussion of the couple’s antecedents, Earnest refers to Don Quixote’s windmill, an allusion to DQ 1.8: [S]he was begotten in Don Quixot’ s Windmill, born in a Storm. (no pagination)

699. Heraclitus Ridens: A Dialogue between Jest and Earnest, Concerning the Times. N&S 183.48 In No. 48, dated 27 December 1681, there is a strange notice about an unpublished sequel to Don Quixote:

390

cervantes in seventeenth-century england

ADVERTISEMENT. Whereas the famous Don Quixot de Salamanca, has given the World some hopes that he would prepare for the Press the 500 Manuscript Sheets which he said he had by him, to serve as an Appendix to his narrative; these are to give notice, that seeing so hopeful an affair in his way, so suddenly dash’d in Holland, merely for want of his timely stepping over, he is overwhelm’d with Melancholy, to that degree, that ’tis to be fear’d the aforesaid Work will never be Published. (no pagination)

700. Hickeringill, Edmund, A Vindication of The Naked Truth, the Second Part. H1832. UMI 458:4 An outspoken and prolific writer, Hickeringill was also a clergyman who decried ecclesiastical jurisdiction. In this Vindication he targets Francis Fullwood, Archdeacon of Totnes in Devonshire, for his pamphlet Leges Angliæ: The Lawfulness of Ecclesiastical Jurisdiction in the Church of England (1681), which was written in answer to Hickeringill’s own Naked Truth, the Second Part. In chapter 3, Hickeringill defends himself against the charge that he would give the king “too many, even all the keys of the Church” (p. 21) and alludes to DQ 1.8: [T]hanks to the wicked Usurper, the Pope and his Legates, like that Pandolfus, who in huffing pride set his Ecclesiastical foot upon this Imperial Crown in King John’s time. . . . 6 This ought not to have been done . . . : and thus (with his Quixotchivalry) he [Fullwood] assaults the Windmills set up by his own brains, like boys that set up their Shrovetide-Cocks 7 only to throw at, and busy themselves. (p. 21)

In his conclusion, Hickeringill turns Don Quixote’s name into that of a disease: But after all this bespattering Language, how inhumane it is in an Archdeacon, and a D.D. so unmercifully to attacque Mr. Hickeringill with Pun and quibble, a persecution beyond the plague of Barbers, in an Itchy endeavor to be witty (forsooth) in despite of Nature and his Stars. . . . Then for the Serious part (if there be such a part) in his Idle Pamphlet; Is it not Quixolisme [sic], beyond the relief of Hellebore,8 to stile his Insignificant babling—Leges Angliæ? (p. 35)

701. The Loyal City of Bristol, Vindicated from Amsterdamnism, or Devil’s-borough. L3340. UMI 1814:10 In 1680, when he had concluded he could no longer work with the fiercely contending factions in Parliament, King Charles embarked on what Macaulay 6

7 8

Pandolfus: Pandulph or Pandolfo, sent from Rome, was charged with monitoring King John’s surrender of England in 1213. Though this made England once again a papal fief, John rewarded the Roman arbitrator’s decency by giving him the see of Norwich, where he was eventually buried. Shrovetide cocks: roosters tied in place, then for merriment struck with sticks on Shrove Tuesday (OED). Hellebore: considered a specific for madness.

1681

391

terms “the experiment of a dissolution,”9 calling for a new Parliament to be convened in March, 1681. The new meeting place was to be Oxford—from a royalist viewpoint, probably the safest place to be found—but meanwhile the necessary local elections would be fiercely fought. Whoever may be credited for this work, its title page goes on to explain that the two epithets in its title are Occasioned by the over credulous, who have hitherto taken it for granted, that the Schismaticks and Hereticks of all Sorts were more numerous than the truly Loyal, Orthodox, and Liege people there.

Furthermore, lest there be any misunderstanding about the work, in his “Epistle to the Reader” addressed to the reader of The Loyal City of Bristol, the author promises a “Description of the Hogan-Mogan Herd,10 a hotch-potch of all Sects and Factions,” frankly asserting that his “Description was design’d only to turn the Fanatick zeal here into Ridicule; to shame the more tender of their reputation (if any amongst them) for ever appearing again in such Cabals, and to make the Royal party Merry” (sig. A2r–v ).11 The body of the work (itself but six pages long) is cast as a letter addressed to the Bishop of Utopia and signed by his lordship’s obedient son. As promised, here comes “the Democratical Rabble which are given to change even their Principles for gain, their Religion for Interest, their Church for a Conventicle, their whole Kingdom for a Common-wealth” (p. 2). Here are “a Cavalcade of Fanatical Porters, and other Mercenary Fellows . . . rod[e] out to fetch in a rotten Member, who (’tis hoped) will scarce hold together till it meets the Body at Oxford ” (pp. 2–3). Eventually, when much of his steam has been expended, the writer turns to Don Quixote and Sancho Panza for illustration in a quasi-summarizing statement on his local countrymen. He places the odd couple in a bizarre sort of parade in which the Best riders lookt so like a pack of hungry Dogs, that I expected every minute when they should alight and fall on, worry, and eat the Beasts that brought them hither. . . . ’Tis too long (my Lord) for a Letter to describe either their persons or their parts. Zancho Pancho pickeering upon Rosinante12 in Don Quixot; and 9 10

11 12

Macaulay, The History of England from the Accession of James II, ed. Charles Harding Firth, vol. 1 (London: Macmillan, 1913), 247. Hogan-Mogan: a term descended from the Dutch Hoogmogenheiden, which means “high and mighty” but is used “humorously or contemptuously of a person in power or who arrogates or affects authority” (OED). Although this pamphlet is said to have been “Writ by an Eye-witnes” (sig. A2r ), “The Epistle to the Reader” is signed by “G. J.” and “C. B.,” “cum multis allis” (sig. A3r ). Pickeering: skirmishing, wrangling, petty quarreling (OED). Though Sancho may fairly be accused of pickeering, he did not do it mounted on Rocinante.

392

cervantes in seventeenth-century england

Ralpho riding to the Slaughter in the Fidles and the Bears in Hudibras,13 are too gentile and learned for a Similitude, tho’ they come the nearest to them (I confess) in Story. For those Squires could reade we hear, but the Devil a one of Three hundred in this Farce could tell a Letter of the Book. (p. 4)

702. Millington, Edward, Catalogus librorum bibliothecis selectissimis doctissimorum virorum. B6341. UMI 155:2 and UMI 1379:2 (as M2071b)

One of the important names in the story of early English auctions is that of Edward Millington, who was active between 1680 and 1703. In 1723 he was remembered as “certainly the best Auctioneer in the World, being a man of great Wit and Fluency of Speech, & a thorough Master of his trade, tho’ at the same time very impudent & saucy.”14 On Monday, 7 November 1681, at Dunmore’s Auction House in Ivy-Lane, London, from 8 a.m. until 2 p.m. there began a week-long display of books to be auctioned by Millington, “Bibliopolam.” The catalogue announcing this sale is made up largely of books from the libraries of Ralph Button, formerly Canon of Christ Church; Thankfull Owen, sometime President of St. John’s College (Oxford); and William Howell of Sussex. Predictably, the catalogue opens with heavy-duty folios of divinity, but eventually it proceeds to “Libri Italici, Gallici & Hispanici in Quarto, 8. 12. 24, &c.” (sig. F2r ). The eleventh entry listed under this rubric is “L’Histoire Cheval. Don Quixot De la Manche 2 Vol. ——Ibid. [i.e., Paris], 1633,” and according to a handwritten note, it was bought by a Mr. Grigg for 3s. 2d . Such an edition has proved hard to track, but certain details (such as the curtailed “Cheval.”) suggests that Millington had in hand some form of L’histoire de l’ingenieux et redoubtable chevalier Don-Quichot de La Manche, a French translation by François de Rosset. 703. The Newgate Salutation: or, A Dialogue between Sir W. W. and Mrs. Cellier. N918A. UMI 542:13 This song, printed as a broadside, was ostensibly to be sung to the tune of “The Fight Is Now Ended.” Here the writer has Sir W. W. address Mrs. Elizabeth Cellier. The former is Sir William Waller (c.1639–1699), a man who, having been reared strictly as a Presbyterian, later became a “vicious profligate.”15 Serving in London as a J.P. during the time of the Popish Plot, he was widely known for his zealous and sometimes unscrupulous anti-Catholicism. He is described as 13

14

15

Of greatest interest here is perhaps the contemporary recognition of the literary debt of Samuel Butler’s Hudibras (pt. 1, 1663; pt. 2, 1664; and pt. 3, 1678) to Cervantes’s Don Quixote. The fiddleand-bear episode may be found in pt. 1, canto 2, of Hudibras. Thomas Hearne, quoted by Giles Mandelbrote, “The Organization of Book Auctions in Late Seventeenth-Century London,” in Under the Hammer: Book Auctions Since the Seventeenth Century, ed. Robin Myers, Michael Harris, and Giles Mandelbrote (New Castle, DE: Oak Knoll Press, 2001), 30–1. Alan Marshall, Oxford DNB, 56:992.

1681

393

A Knight of the Cause,16 whose great Eminence, Of Popish Rat-catching, and smooth Impudence; Belov’d by all those who are the Kings Foes, Yet in the Reception he dreaded some blows: For when Fire and Water by accident greet, Those unruly Elements clash when they meet.

Mrs. Cellier, on the other hand, the so-called “Popish midwife,” was a charitably inclined woman known for her visits to prisoners in Newgate at the time of the Popish Plot. She became embroiled in the anti-Catholic hysteria and was incriminated through the machinations of Thomas Dangerfield, then accused of plotting, and tried for treason on 11 June 1680. Upon being acquitted, she wrote Malice Defeated (v. supra)—and thus was brought to trial for libel on 3 September 1680, found guilty, fined, and made to stand in the pillory (see Fig. 22, p. 376). In this amusing song, Sir William and Mrs. Cellier meet in Newgate, and she welcomes him with a satirical reference to the courage of Cervantes’s Don Quixote and the zeal of Samuel Butler’s parallel hero, Hudibras: Great Sir! You are welcom unto this Great House, I scorn to throw Water upon a drown’d Mouse; None of my Relations I have seen this year, Could be half so welcom should they be brought here. Your great Vigilance, and your Zeal doth surpass, In Courage, Don Quixot; in Zeal, Hudibrass.

Also found in Nathaniel Thompson’s Choice Collection of 180 Loyal Songs, T1003 (1685), p. 109; and A Collection of One Hundred and Eighty Loyal Songs, T1006 (1694), p. 109. 704. News, From the Land of Chivalry. Containing the Pleasant and Delectable History: and, The Wonderful and Strange Adventures of Don Rugiero de Strangemento, K t . of the Squeaking Fidle-stick. Num. 1. N&S 448.1 This satire of Sir Roger L’Estrange was serialized, but abruptly ceased publication after the third installment. In this first number, the second chapter is titled “How 3 Inchantresses appear’d to the fair Magebetha, and how they brought most admirable Presents to the Infant Rugiero, and what followed thereupon.” The third Enchantress presented her gifts and predicted that Rugiero would be greater than Don Quixote. She calls him “the Knight of the Windmill,” thus alludes to DQ 1.8: [S]he presented these things to the Infant with these Words. Tho’ in your younger days you shall grow famous for your Adventures of the squeaking Fiddle stick,17 yet you 16 17

Cause: suggestively described in the first three lines here, “Cause” (often “Good Old Cause”) is a complex term referring generally to the long-lingering goals of England’s Commonwealth. L’Estrange came from a Norfolk family in which playing the viol (not the violin) was important. Presumably the “adventure” mocked here occurred in earlier times when L’Estrange, on a visit to

394

cervantes in seventeenth-century england

shall afterwards grow Immortal by these renowned Instruments, for by this ycliped18 a Pen, and by this ycliped Ink, you shall be more famous than the renowned Knight, that flower of all Chivalry, Don Quixot, the Knight of the Windmill, and with this Inchanted Launce you shall overthrow all the Knights and Gyants that you shall J [o]ust with, and shall be stronger than the Lance of Hector, or the renowned King Arthur, or Sir Lancelot du Lake. (sig. A1v )

705. Oldham, John, Satyrs upon the Jesuits. O244. UMI 614:2 This potent volume of Satyrs, composed by the poet Oldham (1653–1683) in 1679 and triggered by the Popish Plot, was put forth anonymously in 1680 but dated 1681.19 It lashes the Jesuits on various scores (equivocation, gulling, murderous scheming) and in “Satyr III: Loyola’s Will” lumps Don Quixote together with legends, tales, and lies told by the Jesuits. Speaking of the Pope, Oldham writes: What e’re he sayes, esteem for Holy Writ, And text Apocryphal, if he think fit: Let arrant Legends, worst of Tales, and Lies, Falser than Capgraves, and Voragines,20 Than Quixot, Rablais, Amadis de Gaul, If sign’d with Sacred Lead, and Fisher’s Seal,21 Be thought Authentick and Canonical.

(pp. 44–5)

Other editions: O245 (1682), pp. 44–5; O246 (1685), pp. 44–5; O247 (1694), pp. 44–5; O247a (1697), pp. 44–5. Also in Oldham’s Works: O224 (1684), pp. 44–5; O225 (1684), pp. 44–5; O226 (1686), pp. 44–5; O227 (1686), pp. 44–5; O228 (1686), pp. 44–5; O229 (1692), pp. 44–5; O230 (1695), pp. 44–5; O231 (1698), pp. 44–5. 706. The Oxford Alderman’s Speech to the D. of M. O848A. UMI 1581:48 (as W3716)

This broadside is sometimes attributed to William Wright. It consists of two rude parts: (1) a satirical poem that purports to be an Oxford alderman’s speech made to James Scott, the Duke of Monmouth, on his entrance into that city about September 1680, and (2) “A Canto on the new Miracle wrought by the D. of M. curing a young Wench of the Kings Evil, as it is related at large by B. Harris in his Prot. Intelligence, publish’d Friday Jan. 7th .1681. to prevent false Reports” (C463). In this, there is a reference to Don Quixote and an allusion Whitehall, came upon the apartment of Oliver Cromwell’s music master, was invited to play with a viol consort, and was briefly heard by England’s chief of men. 18 19 20

21

Ycliped : a bit of atmospheric Middle English, the meaning of which is simply “called” or “named.” Paul Hammond, Oxford DNB, 41:690–2. Capgraves and Voragines: John Capgrave (1393–1464), Augustinian friar and editor of the Nova legenda Angliae; and Jacobus de Voragine (c.1230–c.1298), Archbishop of Genoa, author of the still earlier Legenda aurea (ante 1267). Popes had long used a signet ring depicting St. Peter, the fisherman, for private writing and a leaden bull (bulla) for official documents.

1681

395

to his being tricked by an innkeeper’s daughter and her grotesque but inventive accomplice, a servant named Maritornes. This fun-loving pair get Don Quixote to stand on Rocinante’s back and put his hand through an opening in the inn wall (which Don Quixot perceives as a castle window), after which Maritornes ties one end of a rope about his wrist and fastens the other end to a door bolt. The jokesters then leave Don Quixote standing on Rocinante’s saddle until morning (DQ 1.43). The English broadside reads: But had you seen the skittish Jade, You would have thought her Drunk or Mad; For at first dash his Hand she seiz’d, Much was th’ambitious Heroe pleas’d So sweetly did Don Quixot grinn, When the Maid Marrian of the Inne,22 He thought was some Enchanted Queen Askt his dead-doing Hand to kiss [.]

Also found in: Nathaniel Thompson’s Collection of 86 Loyal Poems, T1005 (1685), p. 21. 707. P., J., Mr. L’Estrange Refuted. P59a. UMI 747:29 This pamphlet was written in response to Sir Roger L’Estrange’s L’Estrange No Papist, and the pamphleteer uses L’Estrange’s own arguments in an attempt to prove that he was indeed not only a papist but a Jesuit. In a section about L’Estrange’s response to the allegations of Miles Prance (a Roman Catholic goldsmith and perjurer), the writer makes light of L’Estrange with an evocation of Don Quixote: And for his saying, that Mr. Prance’s Secretary falls upon him most outragiously, ’tis a Don-Quixotisme of his own. (p. 13)

The writer concludes his work with a reference to Don Quixote’s library, in particular an allusion to DQ 1.6: I must needs say, that I could never find by any of Mr. L’Estranges Writings, that he has either Learning or History enough, to interpose in any of the Contests now on Foot, which is a work for more sober and judicious Pens then his. . . . I dare be bold to say, [his scribblings] will never make him Immortal; fitter behalf to have the same Sentence pass’d upon them, that Dr. Mayern23 passed upon the Queens Cowcumbers, or which the Barber and the Curate gave upon Don Quixot’s Library, which was to be thrown out at Window, to illuminate the World more in a Bonefire, then by their Literature. (pp. 35–36) 22 23

Maid Marian: a reference to the lady-love of Robin Hood. Dr. Mayern: Theodore Turquet de Mayerne (1573–1655), physician to James I and Queen Anne.

396

cervantes in seventeenth-century england

708. A Pleasant Battle Between Two Lap Dogs of the Utopian Court: or, A Dialogue Between Sleep and Awake, Jest and Earnest, Reality and Fancy: Being Fought upon the New Erected Dog-Pit. P2537. UMI 1448:23

This work is a satire of Charles II’s mistresses Nell Gwynn and Louise-Renée de Kéroualle, Duchess of Portsmouth and Aubigny. Two lap-dogs, Tutty and Snap-short, enter and begin a dialogue. Tutty refers to Don Quixote’s fight with a windmill, an allusion to DQ 1.8: HOW now Snap-short, What out of your Ladys Lodgings at this time o’th Night? I’le teach the best French Cur of you all to come as a S P Y into our Quarters at this unseasonable hour. . . . [S]o long as I have an English Tooth in my Head they shall make bold to salute your French Ears, and in as rugged a manner as ever Don Quixot handled the Windmills: and so have at you— (p. 2)

Unlikely as it may seem, this sharp-toothed battle is in some ways remindful of Cervantes’s much earlier Coloquio de los perros (Colloquy of the Dogs). One of only two stories in the Novelas ejemplares that remained untranslated in seventeenth-century England, the Coloquio, like A Pleasant Battle, offers a canine view of human society. 709. Winstanley, William, Poor Robin, 1681. An Almanack after a New Fashion. A2200. UMI 1084:21 Here, in another of his “Poor Robin” almanacs, Winstanley presents a diagram for “The Ass-trological Scheme,” wherein “Sancho Panca” occupies the third house in the upper right hand quadrant (sig. C7r ). In the commentary, he refers to Sancho Panza, Dulcinea del Toboso, and Don Quixote: The third House contains Sancho Panca, Gentleman Usher to Dulcinea del Toboso, the affianced Lady of the Knight Errant Don Quixot. This Sancho was he who wrote the Gentleman Ushers Grammar, beginning thus. In a Gentleman Usher there be eight parts. Boldness, Neatness, Flattery, Secresie

rewarded.

Diligence, Obedience, Truth, Honesty

unrewarded. (sig. C7r–v )

@

1682

#

710. Allestree, Richard, The Gentlemans Calling. A1128A. UMI 1372:26

In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see A1115 (1660). In this edition, the passage is found on p. 134. Other editions in 1682: A1127B (UMI 2487:4), p. 134; A1128 (UMI 1372:26), p. 134. 711. Allestree, Richard, The Works. A1081B This collection of Allestree’s works includes The Gentlemans Calling. For a reference that mentions Sancho Panza and alludes to Don Quixote, see, A1115 (1660); in this edition, the passage is found on p. 85 (2nd pagination). Other editions: A1082 (1684), p. 445 (1st pagination); A1083 (1687), p. 445 (1st pagination); A1084 (1695), p. 445 (1st pagination). 712. Behn, Aphra, The False Count: or, A New Way to Play an Old Game. B1730. UMI 203:5 The third of her plays to be mentioned here, Aphra Behn’s False Count, a comedy, was played first by Thomas Killigrew’s company at Dorset Garden in November of 1681. In the second scene she includes a conversation between Don Carlos (the Governor of Cadiz) and Guilion (a chimney sweep), wherein the governor tells the sweep that he wishes him to impersonate a great lord: Car. Equipage, cloaths and money we’ll furnish you with,—go home with him, and dress, and practice the Don, till we come, who will give you ample instructions what to do. Guil. And if I do not fit1 you with a Don better than Don De’ll, Phobos,2 or Don Quixote, let me be hang’d up for the Sign of the Black Boy on my own Poles at a Spanish Inn dore. (p. 19)

Another edition: B1731 (1697), p. 19. 1 2

Fit: i.e., supply. Don De’ll, Phobos: apparently a printer’s error for Don Del Phobos. Phobos was a son of Ares, god of war, and often found on the battlefield—a terrible god, says Hesiod (Theogony, ll. 935–6). Then again, one of the dedicatory poems at the front of DQ 1 was, in Shelton’s terms, “The Knight of the Sunne Alphebo” (sig. A4r ), i.e., Phoebus.

398

cervantes in seventeenth-century england

713. Behn, Aphra, The Roundheads: or, The Good Old Cause. B1761. UMI 54:6

In this comedy, the fourth of her plays to be listed here, Behn recycles much material from John Tatham’s The Rump (1660), q.v., and borrows Lady Lambert’s allusion to DQ 1.2–3 et seq.: I wonder with what impudence Noll and Dick cou’d Knightifie your Husbands? for ’tis a Rule in Heraldry, that none can make a Knight but him that is one; ’Tis Sancha Pancha’ s Case in Don Quixot. (p. 49)

Noll and Dick, of course, are Oliver Cromwell, Lord Protector of England, and Richard, his son and successor. Another edition: B1762 (1698), p. 48. 714. The Character of a Through-Pac’d Tory, Ecclesiastical or Civil. C1990. UMI 450:19

“Tory” is a chameleon term, here referring to one who is against excluding Charles II’s Roman Catholic brother James, Duke of York, from succeeding to the throne. The author likens such a man to Don Quixote: If you consider his Zeal by the ardency of his Chimera’s,3 or as it relates to what he calls Protestant Plots and Associations, you may behold him like another Quixot, combating as odly in his conceit, being so in love with the fiction, that he sounds it out as an Errata in point of Allegiance. (pp. 1–2)

715. Cooper, William, Catalogue librorum bibliothecæ Gualteri Rea Armigeri. R423 William Cooper, a highly successful bookseller, publisher, and auctioneer, began auctioning the library of Sir Walter Rea on 19 June 1682 at the Sign of the Pelican in Little Britain. In the catalogue, under the heading “English in Folio,” no. 155 is “The hist. of Don Quixot the Valorous Knight-Errant of Mancha——1652”; no. 158 is “Edm. Gayton’s pleasant Notes upon Don Quixot——1654” (sig. D2v ). 716. Cowley, Abraham, John Birkenhead, and Samuel Butler, Wit and Loyalty Reviv’d, in a Collection of Some Smart Satyrs in Verse and Prose on the Late Times. B2963 and C6697. UMI 1148:57 (as B2963)

Sir John Birkenhead’s Assembly-Man is found in this collection. For references to Don Quixote’s shattered lance (DQ 1.8) and some early inventiveness in Shelton’s translation of Don Quixote, see B2961 (1662); in this edition, the passages are found on pp. 16, 17. 3

Chimeras: mythological monsters, by extension, something unreal; here probably foolish fancies.

1682

399

717. Fletcher, John, The Chances, a Comedy: As It Was Acted at the Theater Royal. Corrected and Altered by a Person of Honour [i.e. George Villiers, second Duke of Buckingham]. F1338. UMI 277:1 For a notice that Fletcher used La Señora Cornelia, one of Cervantes’s Novelas ejemplares, as a source for his plot, see B1581 (1647). 718. Gellibrand, John, Catalogus librorum in omni facultate & linguæ. G481. UMI 1718:1 Here found operating “In Cœmeterio Paulino” and using the sign of two crossed swords (which in 1650–75 had been used by the bookman Samuel Gellibrand at The Golden Ball), John Gellibrand would before long (1684) be selling books “by way of auction at Tunbridge-Wells.” Appropriate to that scene, apparently, his Catalogue of the Libraries of Two Eminent Persons (G480, 1684) would offer much lighter fare, all in English, than here where he offers books “ex Variis partibus Europæ allatorum.” Among the latter is: [Histoire] de don Quixote de la Manche, 2 vol. 12. Paris, 1677.

(p. 12)

The bibliographical facts are complex, but this appears to be the version by Filleau de Saint-Martin.4 719. Heraclitus Ridens: A Dialogue between Jest and Earnest, Concerning the Times. N&S 183.66 In no. 66, dated 2 May 1682, Jest and Earnest refer to Don Quixote and Dulcinea, and Earnest quotes a line found in DQ 1.8. As they discuss the Whigs, Earnest begins: So, I hope, you are now convinc’d that the Whigs are none of your huffing Drawcansirs, that dare drink and for their drink dare die, (as the Play call’d the Rehearsal has it.)5 They’l part (good men!) with Victuals, Drink and good Company and all, but they’l gain the Reputation of being obedient Subjects. Jest. For my part, I look upon’t to be a greater instance of self-denial, than any of those recorded to have been exercised by the famous Enthusiast Don Quixot, for the love of his fair Dulcinea, and I wish they would order Implement’s Secretary to take care it be registered in his immortal Pacquet 6 or some other Romance, to the honour of the Whig-Legion. Earn. And then with what Patience do the silly Creatures demean themselves that were bob’d of their Guinies. 7 . . . Notwithstanding these arbitrary Proceedings, yet (as the E. of Shaftsbury said in his Speech to the Parliament) There is no complaining in our streets; a man can hardly know that they have been gull’d. Come, this is a good Dog like temper. 4 5

6 7

See Antonio Palau y Dulcet, Bibliografía de Cervantes Saavedra (Barcelona: Librería Palau, 1950), 34. The reference is to a swaggering character in The Rehearsal (1671) by George Villiers, second Duke of Buckingham. Obviously pertaining to drink, it simultaneously mocks the character of Almanzor in John Dryden’s two-part Conquest of Granada (pt. 1, 1670; pt. 2, 1671). Pacquet: a secretary might well be expected to have a pacquet or packet of documents. Guinies: i.e., “guineas,” English coins first struck in 1663 and worth 20 shillings.

400

cervantes in seventeenth-century england

Jest. Perhaps it may fare with those that embark in the Cause,8 as our foresaid Author Don Quixot says it does with them who engage in Chivalry, who use not to complain of any Wound, although their guts do issue out thereof. (No pagination, recto of leaf )

These last words by Jest are notable for being a nearly exact transcription of Shelton’s words in 1612 (DQ 1.8, p. 54): Shelton writes “did issue” rather than “do” issue. 720. Heraclitus ridens: A Dialogue between Jest and Earnest, Concerning the Times. N&S 183.68 In no. 68, dated 16 May 1682, Jest and Earnest imply that a new edition of Don Quixote is in the works. Earnest begins: WELL met again. . . . What old musty Record hast thou got there? Jest. ’Tis only an antient Manuscript Romance, translated out of the Arabic, being The History of the Life and Death of the famous Renegado Asselego, shewing how he turned Whig, and was made a Beglerbeg of that People, and at last ended his life by way of strangulation in a place in Egypt, call’d Delta, from the three corner’dness of its shape, being the end of his Dominion. Earn. A notable promising Title, I assure ye; but pray let’s hear a little of it, that we may judg[e] of its stile and fitness for the publick, if you should think to put it at the end of the next edition of Don Quixot. (No pagination, recto of leaf )

721. Heylyn, Peter, Cosmography. H1696. UMI 693:13 For a reference in which Heylyn praises Cervantes, quotes Don Quixote (DQ 1.21), and refers to the kingdom of Micomicona, an allusion to DQ 1.29 et seq., and to Sancho Panza’s island of Barataria, an allusion to DQ 2.45 et seq., see H1689 (1652); in this edition, the passage is found on pp. 161–2 (4th pagination; sig. Bbbbbb1r–v ). 722. Hickeringill, Edmund, The Mushroom: or, A Satyr Against Libelling Tories and Prelatical Tantivies. H1820. UMI 211:14 Hickeringill uses the word “tantivies” here in the subtitle of his Mushroom to refer to Tories and high churchmen. Deriving from a word meaning “to ride full tilt,” “tantivy” entered a new phase in 1680–1 “when a caricature was published in which a number of high-church clergymen were represented as mounted upon the Church of England and ‘riding tantivy’ toward Rome behind the Duke of York” (OED). Hickeringill himself had been, seriatum, a Baptist, a Quaker, and a Deist, but was ordained by Bishop Sanderson in 1661 and in the following year became the vicar of All Saints in Colchester, a post he held until his death. Writing here in response to Dryden’s Medal, which he calls “a satyr against sedition,” Hickeringill savages both poem and poet and alludes to DQ 1.8: 8

Cause: a vague but popular term for the goals of those who favored such authorities as Oliver Cromwell and the Long Parliament; in a word, the Interregnum.

1682

401

And yet the Coxcomb did admire his wit, And Tories call it (still) a Lucky-Hit And Why? for God’s sake why? where are men’s brains? Fool’d by Romance and by Poetick-Strains? And whiffled by a dull old Quixot? (Fy-on’t) The Wind-mill of his Brains (he thought) a Gyant. (p. 15)

723. Millington, Edward, Catalogus librorum bibliothecae selectissimae Doctiss Rev. Viri D. Joannis Arthurii Londinensis. A3802. UMI 621:18

In this catalogue Millington offered the library of the Revd Dr. John Arthur. Arthur’s books were to be auctioned on 12 February 1683, and among them, under the heading “Miscellanies in Folio,” item no. 112 is “Gayton’s Notes upon Don Quixot.——1654” (sig. Cc2v ). 724. Oldham, John, Satyrs upon the Jesuits. O245. UMI 1614:3 For a reference lumping Don Quixote together with false legends, tales, and lies, see O244 (1681); in this edition, the passage is found on pp. 44–5. 725. Oldys, Alexander, The Fair Extravagant: or, The Humorous Bride. An English Novel. O264b. UMI 2357:1 Because of its reference to James II, it has been suggested that The Fair Extravagant, the first of Oldys’s two novels, was written between 1685 and 1688.9 Whatever the case, his lively Restoration dialogue soon introduces readers to a rarity: clearly pictures and books do make a room, and Oldys records that the agreeable boudoir of Ariadne, his “fair extravagant,” includes pictures of both Don Quixote and Sancho Panza. He tells us that her walls are hung with excellent Pictures of the best hands, and those chiefly in her Closet, where (if ever you were there) you might have observed that of Don Quixot and Sancho Panca, which hung just over against Amadis de Gaul, and directly opposite Oroondates and Cæsario in Combat when they had mistaken one another; with many more fantasticks.10 Nor were her Books better match’d. Here you might see Francis Quarles bound up with George Withers, Sir John Suckling and Sir John Denham, and Randolph and Broom, Shakespear and Johnson (though they could hardly ever agree before:) Beaumont and Fletcher (you know) always were together. . . . [S]he 9 10

Paul Salzman, English Prose Fiction 1588–1700 (Oxford: Clarendon Press, 1985), 322. Amadís de Gaula, the famous knight and lover of Oriana, is here paired with Oroondates, Prince of Scythia, the lover of Statira, Alexander the Great’s widow. Oroondates had appeared previously in the ten-volume romance Cassandre (1642–5) by Gaultier de Coste, Seigneur de La Calprenède, which work was translated to English by Sir Charles Cotterell (1652). In 1673, however, at least one English writer (perhaps Richard Leigh) clearly was a man who could not bring himself to “admire the stupidity of Oroondates in weeping at the feet of his Mistress” (A Description of the Academy of the Athenian Virtuosi, 18). Students of seventeenth-century English literature are likely to recognize the names of all the writers that follow, beginning with Francis Quarles and George Wither (linked here, possibly, as writers of major emblem books) and closing with two pairs of major dramatists.

402

cervantes in seventeenth-century england

did often read in one or other of these Books, especially Romances, for she was a great lover of Knight Errantry, and was a little that way addicted. (pp. 3–4; sig. B2r–v )

726. Osborne, Francis, The Works of Francis Osborne, Esq. O506. UMI 616:6

For a reference to Don Quixote, an allusion to DQ 1.17–18, see “A Character of a Host” in A Miscellany of Sundry Essayes, Paradoxes, and Problematicall Discourses, Letters and Characters, O516 (1659); in this edition, the passage is found on p. 601. 727. Prideaux, Mathias, An Easy and Compendious Introduction for Reading All Sorts of Histories. P3445. UMI 1429:2 For a passage which commends Don Quixote for wittily scourging those romances that are rude, endless, depraved, and superstitious, see P3439 (1648); in this edition, the reference is found on p. 379. 728. Waller, Edmund, Poems, &c. W516. UMI 1452:2 and UMI 2102:7 (as W516a)

For a reference to Don Quixote 1.8 in “To the Mutable Fair,” see W511 (1645); in this edition, the passage is found on p. 128. 729. Webster, John, A Catalogue of All the Bookes Late Belonging to Dr. John Webster of Clytheroe Decd: ye 18th of June Anno Dom 1682. Chetham’s Library (Manchester) MS A.6.47 A radical Yorkshire Puritan, John Webster (1611–1682) served variously as a master of a grammar school, a surgeon in the parliamentary army, a minister of the Church of England, an antinomian London preacher, a writer of books (among them the controversial Displaying of Supposed Witchcraft [1671]), and for the last twenty-five years of his life, a physician and (apparently having made his peace with the English Church), a landholder of formerly royalist properties in the Lancashire town of Clitheroe.11 Although he lived far from the great bookselling centers of the country, and though he held staunchly that books were irrelevant to attaining grace, the many-faceted Webster was also the owner of a large private library. His collection was predictably weighted towards theology and natural philosophy, but it also contained forty-some volumes of romances and other prose narratives. Among the latter, together with an estimate of its value, was: Don Quxote [sic] 11

£0 01 0

8o

A thorough introduction to Webster and his Catalogue is provided by Peter Elmer, The Library of Dr John Webster: The Making of a Seventeenth-century Radical (London: Wellcome Institute for the History of Medicine, 1986). The Cervantes entry is no. 1098 on p. 171.

1682

403

730. Winstanley, William, Poor Robin 1682. An Almanack after a New Fashion. A2201. UMI 1494:23 In “Observations on January,” “Don Quixot” is celebrated on 6 January (sig. A5r ). In his explanation of “The Ass-tronomical Scheme,” Poor Robin explains why Sancho Panza was not featured this year: Instead of Sancha Pancha, the third House is supplied by his Country-man Lazarillo de Tormes, eminently famous for his dexterity in cheating his blind Master. (sig. C7v )

@

1683

#

731. Brémond, Gabriel de, Hattige: or, The Amours of the King of Tamaran. A Novel. B4352. UMI 2088:8 For a reference to Cervantes’s popularity in B.B.’s “Preface of the Translator,” see B4351 (1680); in this edition, the passage is found on sig. A5r . 732. A Catalogue of the Library of Books, Latin and English, of the Reverend and Learned Mr. Charles Adams, Late Minister of Great Baddow, Near Chelmsford in Essex. A476. UMI 1787:1 On a black marble slab in St. Mary’s Church, Great Baddow, an inscription tells “of the Reverend and pious Mr. Charles Adams M.A. who having been a burning and shining light in this Church about XX years liv’d beloved and dy’d lamented of all that knew him. Departed hence Sept.1.1683. Ætat 45.”1 Among Adams’s works offered for sale by auction on 16 November 1683 at the Black Boy Inn in Chelmsford for the benefit of the Widow Adams was one by Cervantes. Under the heading “English Divinity, History, in Quarto &c.,” no. 50 is “Don Quixot of the Mancha History——1652” (p. 7). 733. The Charter of Londons Answer to a Scurilous Libel Intituled, Its Last Will and Testament. C3724. UMI 1250:19 The Last Will and Testament of the Charter of London, answered here, is a broadside dated “Kalends of May in the Year of our Lord God, 1683.” Only slightly later that spring, as part of a complex series of maneuvers whereby the Tories resumed power, the Court of the King’s Bench voted to replace the Charter of London with one that placed the City under the crown. Foreseeing his demise, the personified Charter, in his Last Will and Testament, presumably expressed bitter resentment of “that Factious Body, whose Mutinous Members have brought me to this untimely End.” Among other matters, the would-be Charter wrote of his wife Polyhimnia (muse of sacred song), with whom he had “coupl’d in fear & Allegiance, till I went a Whoreing after my own Invention, teaching other Citys by my Example to Mutiny and Rebell.” When it comes to nominating heirs, he came close to naming individuals; for instance, Sir T. P–er is to receive Moorfields, with all the wenches and bawdy houses belonging to the well-known Mrs. Cresswell. 1

David B. T. Papworth, St Mary’s Church Great Baddow, rev. A. E. Royle and, later, by Andrew Wheeler (Great Baddow, Essex: 2007): 10. Mr. Wheeler has kindly informed us (2 July 2007) that some years after this booklet first appeared (1973) the inscription in question was covered by a new floor during a major refurbishing of the church.

1683

405

In righteous protest, the author of the Answer at hand, calling himself Philojuris, addresses the perpetrator of The Last Will as “Mr. Babylonish-Bully” and takes the occasion to allude to Don Quixote 1.8: I cannot perswade my self, but what is past will be forgotten and forgiven, and that I and my dear Consort, Not yet a Widdow, Gay as at first, may many years walk Hand in Hand, and yet produce a numerous off-spring, whose Loyalty and Obedience to their Prince may raise their Envy higher, who would rejoyce in nothing more then my Anihilation, especially those who Viper like seek to destroy what’s gave them, being whose understanding are so shallow, that like Quicksot, they cannot discern the difference twixt a Windmill and an Armed Knight. These are the greatest cause of my Grief, these are my ungracious Children, which I could well spare, to Caper betwixt Heaven and Earth, yet to have access to neither but like Mahomet, be famed for Hanging in the Air.2 (p. 2)

734. Coleraine, Henry Hare, The Situation of Paradise Found Out. Being an History of a Late Pilgrimage unto the Holy Land. C5064. UMI 958:15

Henry Hare (1636–1708), second Baron Coleraine, was an antiquarian, M.P., and gentleman of the privy chamber (from 1668 to 1685). In this work (sometimes attributed to the first Baron Coleraine), he refers to Cervantes in a passage about epic poetry: Homer and Hesiod, Virgil and Ovid, have two of them given us the most noble and most adequate Images of Heroick Vertue, and the other two not less delightful and instructive Figments. . . . [T]he Italians themselves used it; whence it is said to receive the name of Romanzo, and Fabular Romana. I have already exceeded the measure of that Discourse I intended, and therefore cannot stay to give you an account of its progress from the Jews, Egyptians, Indians, Persians, Arabians, Moors, Spaniards—. The last I named were so addicted to this sort of Wit, that one of them (I mean the Author of Quichot) hath in the same stile writ a Satyr against them. Which in Spain growing so in vogue, hath passed thence into most of the Nations of Europe, though still [i.e. always] made worse by transplantation, and very much abused to wanton and mean Subjects. And if we may take an estimate from the mischief it hath done now it is corrupted, the good must certainly be very great which we are to expect when once it is reformed: That which hath done the Devil such service, will, I hope, if wrested from him, do God as much; and it will be a cunning artifice thus to wound him with his own Weapons. (pp. 32–3)

735. Cooper, William, and Edward Millington, Catalogus variorum librorum bibliothecæ instructissimæ. R1794. UMI 2077:2 In an epistle addressed “To the Reader,” the booksellers Cooper and Millington note that 2

Though Mahomet eventually traveled to heaven, the passage probably alludes to the belief that his coffin hovered for a while in mid-air.

406

cervantes in seventeenth-century england

This Auction of Books consists of the Library of the Rever. and Learned Mr. Daniel Rogers, formerly Minister of Haversham in the County of Bucks; and of other Considerable Persons Studies. . . . That great variety of choice Books . . . [is an] Invitation to all Lovers of Learning and Knowledge. (page following title page)

Daniel Rogers (1573–1652), a Puritan Church of England clergyman, was known as an unusually learned man. When young he is said “to have triumphed in a disposition with an opponent of the Puritans who had been sent by Archbishop Richard Bancroft,” and in later life his scholarly prowess was admired by none other than Bishop William Laud of London—who nevertheless held Rogers’s opinions and practices to be unacceptable.3 In short, Rogers was perceived as a learned man of “over-harsh divinity.” The sale of his books was scheduled to begin on 21 June 1683 at Jonathan’s Coffee House in Exchange Alley in Cornhill. In the second part of the sales catalogue, under the heading “English Miscel. Octavo, &c.,” item no. 198 is of passing interest: “Mock-Clelia, Novels in imitation of Don-Quixot——1678” (p. 9; sig. K3r ). Since the English version of Adrien Subligny’s French send-up of Madeline de Scudéry’s Célie is clearly titled The Mock-Clelia and defined on its own title page as “a Comical History of French Gallantries, and Novels,” one might guess that the book listed in this catalogue came from the library of one of the nameless “other Considerable Persons” mentioned by Cooper and Millington. 736. Dixon, Robert, Canidia: or, The Witches. A Rhapsody. D1745. UMI 711:10

A royalist divine who dared refuse to sign the Solemn League and Covenant (1644), Dixon (d. 1688) was sequestered but later restored and assigned a prebendary in Rochester. Author of The Doctrine of Faith in 1688, he received from Cambridge in that same year a D.D. per literas regias. Dixon’s authorship of the satirical Canidia appears to be arguable. In any case, this work to some extent harks back to the Epodes and Satires of Horace, several of which feature the witch Canidia. It also contains a small handful of allusions to Don Quixote. In part 1, canto 5, in a section that mocks heroes of various times, the poet writes: One cuts Mount Athos in two pieces The Wiser gets the Golden Fleeces.4 3 4

Jason Yiannikkou, Oxford DNB, 47: 544–5. Xerxes I, King of Persia, had a canal dug across the mountainous Greek peninsula of Athos in order to safeguard his fleet from treacherous waters; and Jason, famed captain of the Argo, along with other great heroes of ancient Greece, managed to steal the golden fleece from a sleeping dragon thanks to the intervention of Medea—whom Jason married.

1683 Don Quixots Red-Cross-Man in Steel,5 Takes chanted Castles, makes Giants reel; Relieves all poor distressed Ladies, And I’le assure does it Gratis. George kill’d the Dragon, sav’d the Maid, E’re since Knights-Errant are decay’d.

407

(sig. C3v )

In part 2, canto 5, Don Quixote is linked with other mighty men of arms: Come let’s muster up good Fellows, Of whose great Wits we have been Jealous: . . . . . . Mahomet, Machiavel, march in the Van, With Bajazet and Tamberlan; Piccolomini, Bethlem-Gabor, 6 Screwd themselves into our Favour; Duke d’Alva, Parma, Don Diego, Don Quixot and Don Quivedo;7 Gondomar and Count Olivarez,8 Consulted often with the Fairies.

(sig. I2r–v )

In part 3, canto 12, in a section that libels practically everybody: The Scots are false-hearted Scabs, The Irish lazy, lowzy Shabs, 9 Live upon Vinegar and Crabs. . . . . . . Italy’s the place for wanton Boys, Curtesans, and Fantastick Toys. Believe Don Quixot, Amadis de Gaul, The Suns Knight Palmerion,10 Devils and all. 5

6

7

8

9 10

Speaking of St. James, Don Quixote tells Sancho that “This Grand Knight with the red Crosse, God hath given him to Spaine for a Patron and Protector, especially in the hard conflicts that the Moores and we had together” (DQ 2.58 [1620], 389). Possibly most in need of identification here are Aeneas Sylvius Piccolomini (1405–1464), author of Eurialus and Lucretia, who became Pius II (1458) and is said to have forsaken Venus for Bacchus; and Gabriel Bethlen Gabor (1580–1629), a Prince of Transylvania and fervent Calvinist who is said to have read the Bible twenty-five times. Probably Francisco de Quevedo y Villegas, whose relevant works here would include not only his Buscón but also his Boschian Sueños and Infierno enmendado (translated as Visions, or, Hels Kingdome and Hell Reformed ), which had long been available in English. All the names on display here were important. After the Duke of Alba died in 1582, however, probably the one best known in England would have been that of Gondomar—i.e., Diego Sarmiento de Acuña, Count Gondomar (1567–1626)—Spain’s ambassador during the reign of James I, in particular at the time of the proposed match between Prince Charles and the Spanish infanta (see Fig. 5). Better known in later years would have been Gaspar de Guzmán, Count of Olivares (1587– 1645), for he was the powerful chief minister and favorite of Philip IV. Shabs: low fellows (OED). Suns Knight Palmerion: here the Knight of the Sun (Caballero del Sol) blurs with one or another of the heroes of the Palmerin series.

408

cervantes in seventeenth-century england Lucretia dyed not ’cause she would be chaste, But because Tarquin from her made such haste.11 (sig. Gg1v )

737. An Elegy on the Much Lamented Sir William Waller, Who Valiantly Hang’d Himself at Rotterdam. E430. UMI 1382:10 and UMI 2124.3:156 This broadside is a mock elegy for Sir William Waller, who did, indeed, flee to Holland in 1682—but returned to England in 1688 and did not die by any means until 1699. In a soliloquy about his doughty deeds, presumably delivered as he prepares to hang himself, Waller here refers to “Prance,” one of his collaborators, as “Sancha-Pancha.” This was Miles Prance, a goldsmith, perjurer, and Roman Catholic. Rise, Grim Alecto,12 Rise (’tis fit to chuse For Hellish matter an Infernal Muse:) . . . . . . My Sancha-Pancha Prance and I, in Lent A Journey took to Newark upon Trent; To seize Old Beddingfield,13 who like a Fop Forsook’s quiet Grave to keep a Ribbon-Shop. . . . . . . . But why should I my Mighty Deeds declare? I’ll Hang my self now in this wild Despair. . . . . . . . All’s Lost; go Ferguson,14 get a Rope, go go; Here’s a Convenient Beam will serve Us Two: Then at one Swing himself Sir Waller Hurl’d To’s Fellow-Traytors in the other World.

738. The London Bully: or, The Prodigal Son, Displaying the Principal Cheats of Our Modern Debauchees with the Secret Practices and Cabals of the Lewd Apprentices of this Town: Discovered in the Life & Actions of an Eminent Citizens Son. 1683. L2890. UMI 2808:35 In the following passage, the narrator of The London Bully gives a detailed description of a fantastic “Nephew of Don Quixot” whom he has encountered at an inn. After an acquaintance of several days, this daft and high-spoken 11 12 13

14

A bitter twist to the story of the beautiful Roman who committed suicide after being raped, thus occasioning the outraged Romans to rid Rome of the Etruscans and found the Roman republic. Alecto: one of the dreaded ancient furies, all of whom punished men in both this world and the next. Bedingfield: a Jesuit who had served as confessor in the household of James, Duke of York. His part (or lack of one) in the Popish Plot is murky, but in its later months Waller “was conducting a big priest-hunting tour in the provinces,” and even though Father Bedingfield was “found to be dead, and was buried accordingly; yet we have an account that Sir William Waller found him alive at Newark, and has committed him to the Gate-house” (see Jane Lane, Titus Oates [London: Andrew Dakers, 1949], 234). Ferguson: Robert Ferguson (d.1714), Scottish pamphleteer and Whig conspirator known as “The Plotter” (see Melinda Zook, Oxford DNB, 19:365–7).

1683

409

“Knight Errant” confesses to the narrator his extravagant love for Joan, the landlord’s less-than-lovely daughter. But while that we were divertising our selves in this manner in the Countrey, the Servants of the Inn where I was lodged, diverted themselves no less at the phantastical humor of a Person of Quality who came to lodge there, and who was so ridiculous, that one could not hear him talk without bursting with laughing: He was dressed after so phantastical a manner, that I do not remember ever to have seen the like; he had a Steeple-crowne’d Hat with a very broad Brim, and upon his Hatband a black and green Feather, and between those, another like that which the Grand Signior15 is used to wear in his Turband; his Hair was a composition of black and grey, his Mustachoes after the Spanish Mode, and with a Beard pointed at the Chin, which was so sharp, that one might easily have run it through a Shilling: he had a Ruff on, whereon was very little Cloth, the rest was of Scollop Lace, after the primitive Mode; his Doublet and his Breeches were of green Taffata’s pink’d, upon red Sattin, which made a great shew; he had Silk Stockings on, his black Shoes pink’d16 all over with little Ribonds. As soon as I was return’d home to my Lodging, I saw this Nephew of Don Quixot was walking up and down the Room with a gate [i.e. gait] full of Gravity, which amazed me strangely, and I was in a humor to have burst out laughing, if my Landlord had not desired me to forbear. But if I admired the Phantasticalness of his Cloaths, I was no less amazed to hear him speak in this manner; Have you, Sir, a Residence in this Patron’s House, or do you only come hither to employ some vacant hours in frequenting some Gentile Company? I was so surpriz’d to hear him speak after this manner, that I could hardly make him any Answer, but suspecting his Disease, I reparty’d, Be it known unto your illustrious Lordship, that I am lodged here for some time, forasmuch as I find as much or more conveniency in this Patron’s House, than in any other Inn of the Town; neither do I doubt but your Illustrious Lordship, after you have sojourned here, will assert the same; for I find the Company here so pleasant and charming; that I could not change my Lodging for anything in the world so long as I shall make my abode in this City. The Knight Errant having heard me speak in this Style, came to embrace me, and kissing me, with joy told me: That I was the only man he had seen in ten years that suited so well with his Humor; for I am accustomed, Sir, pursued he, to blend in the English Tongue, which is not ever [i.e. always] civil and obliging, certain Latin and French Words, for to make a good conjunction of these three Languages; and for this reason others blame me, though I am of opinion that nothing can be more lofty than to speak in one Tongue all the Graces of that and two more; which is the reason and sense which makes me embrace your Lordship, seeing evidently that you have the same knowledge, and that you make use thereof. Thus if the Desires of an honest Gentleman can make any impression upon your Soul, I should desire that we might have our Beds in the same Apartment; by that means we shall have the opportunity of discoursing every moment of our Affairs, which will the better agree with our Genius’s. In this manner did the Gentleman finish his Discourse, and left me in a great Amazement, that there are still People left who blend all Tongues together in this 15

Grand Signoir: the Sultan of Turkey.

16

Pink’d: pricked, decoratively perforated.

410

cervantes in seventeenth-century england

manner: and I am of Opinion that this falling into this folly, proceeded from his being too much tainted with Terms of Law from his Infancy. Notwithstanding this, I did not refuse him his Request of lying in the same Chamber with me; for methoughts that I could not have found any Company better than this, [sic] Whereupon I first of all replied to his Discourse in the same Barbarous words as were those he made use of, and that very moment commanded the Chamberlain to make ready a Bed for this Lord in my Chamber. But I must own that if his Speech and his Words rais’d an admiration in my Mind, his Sword did no less, which I saw upon the Table, of so prodigious a length and breadth, that it would not only have been capable of slicing off a man’s Head, but an Oxes too; the guard was so great, that the hands of a Giant could hardly have covered it. Whereupon, full of astonishment, I askt him where he had got that swinging weapon? He made me answer, That it was the Sword of George Castriot King of Epirus, whom the Turks called Scanderbeg,17 by reason of his great Exploits in War; and that it was the same Sword wherewith he had performed so many Wonders. To which he added many of the Circumstances; as, that he was of the Race of Scanderbeg, and that this Sword fell to him by right of Succession, and that he wore it for the Honour of that Great man, though it was something too heavy. I am of opinion too that he spoke Truth; for it was so heavy that one could hardly lift it from the ground. In such like Discourse as this, did we pass the Evening; after which, we went to Bed, after having employed three quarters of an hour in making Complements, upon an Affair of great importance, that is, who should go up stairs first; which I was constrained to do, though the youngest; for Seigneur Antonio (so was the Knight Errant’s Name) would have rather lain upon the Floor, than have committed such an Incivility. I enjoyed that, and nine or ten Nights more Don Antonio’s Company, with all manner of satisfaction; and on the morrow he held me this Discourse; Sir, said he, after a very serious manner, If ever you have been the Slave of Love, you are not ignorant of the power of that little God. . . . I have made Vows all the night long to Venus and Cupid her Son, for a favourable success in this Affair, on the Event whereof does undoubtedly depend my Life or my Death; for yesterday evening being upon the point of going to Bed, I took the boldness to slip into the bosom of the incomparable Joan a Billet deux,18 wherein I exprest to her downright my pains. It is in the expectation of the success of this, that I am to resolve whether to live or die. Here it was that the Amorous Antonio put a period to his Discourse, with so languishing and sorrowful an Air, as if he had been led to the Gallows by the Executioner. Nevertheless I could hardly abstain from laughing upon these extravagant words; however I failed not to comfort him the best I was able; promising to help him in all that lay in my power. After that I dressed my self 17

18

The name Scanderbeg somehow came to be assigned to George Castriota (c.1404–1468), the son of an Albanian prince. Reared a Muslim, he abjured Islam at the time of the crusades and worked not only with Venice and Naples but also with the pope. In a sonnet in Upon the Historie of George Castriot, Alias Scanderbeg, Edmund Spenser writes of him as “The scourge of Turkes, and plague of infidels.” See Tim Cook, ed., The Works of Edmund Spenser (Ware, Herts.: Wordsworth Editions, 1995), 603. Billet deux: i.e., “billet-doux,” a love letter.

1683

411

with haste, desiring to see that excellent Letter, while that I made him believe I was to go out very early upon some Business. But to shew you the wisdom of this Knight Errant, it will be convenient, before I pursue my Discourse, to make a description of that admirable Beauty. You must know then that this incomparable Joan was the Daughter of our Landlord; she was about eighteen years old, and a short hoddy-doddy; she was plump enough, and broad enough; for she was a yard and half about: her Breasts, which our poor Lover called the Mounts of Alabaster, seem’d like a Cows Udder, by reason of their bigness. . . . In short, she was a true remedy of Love, and against whom a man would not have drawn his Sword, unless provoked thereto by an extraordinary hunger. Notwithstanding this, she was of a jocond [sic] humour, and did all her Work singing, imagining (as most Women do) that she was none of the ugliest. (pp. 42–52)

739. The London Jilt: or, The Politick Whore. The Second and Last Part. L2897c. UMI 1619:18 This anonymous book has sometimes been confused with a very different one by Alexander Oldys called The Female Gallant or, The Wife’s the Cuckold, the opening page of which is headed The London Jilt: or, The Female Cuckold.19 Whereas Oldys’s book pictures a world much like that in the stage comedies of the period, the work at hand has many of the characteristics of rogue narratives. Rather than presenting a pícara, however, it focuses on the ways and wiles of a successful tart. The description on its title page promises All the Artifices and Stratagems which the Ladies of Pleasure make use of for the Intreaging and Decoying of Men; Interwoven with Several Pleasant Stories of the Misses Ingenious Performances.

In short, the particular “Miss” who tells her story here becomes a canny and successful whore. Well into her narrative, enraged and scarcely so politic as the title proclaims, she throws a full chamber pot in the face of a man who has abused her. In relating this encounter, and obviously having read her way well into the second part of Cervantes’s Don Quixote, she refers to Don Quixote’s battle with cats (DQ 2.46): I flew at his Hair and Face as if I had been some infernal Fury, while he was endeavouring to clear his Eyes that were all besmeared with T—d, and I imprinted my Nails so deeply in him, that Don Quixot was never more hideous to see when he had that famous Battel with the Cats in the Dukes House. (p. 103)

740. The Old Cause’s Epitaph by Anticipation. O198. UMI 723:21 “The Old Cause,” also known as “The Good Old Cause,” was a convenient catchall term harking back to what some regarded as the good old days of 19

Roger Thompson sorts out the problems in “The London Jilt,” Harvard Library Bulletin 23 (1975): 289–94.

412

cervantes in seventeenth-century england

pre-Restoration republicanism, the Long Parliament, and Oliver Cromwell. Personified here and viewed satirically, the Good Old Cause lies “Heartless, Breathless, Languishing, and Pin’d ; | As State-physitians plainly do Descry” (p. 15). Nearing its end, the Old Cause bequeaths a variety of things “To All Writ Underneath,” among the latter being Don Quixote, who is to receive Titus Oates, of Popish Plot fame. To Don Quixot, a Salamanca Wight, Transpros’d to Doctor, from an Errant Knight, The Travellers Monopoly Ne’re to be Perjur’d, though he Briskly Lye.

(p. 17)

Only in his own false words was Oates ever “Transpros’d” to become a doctor from Salamanca. However, as one who did, indeed, travel to Spain, the famous perjurer is allowed the travelers’ privilege of lying. 741. Poyntz, Francis, Scenes from the Story of Donquixott. Tapestry, Cawdor Castle

According to Gervase Jackson-Stops, “Poyntz held the post of yeoman arrasworker at the Great Wardrobe from the Restoration to his death in 1684.”20 It was in the course of his work, therefore, that in January 1683 Poyntz received a royal warrant for the purchase of “Three peaces of Hangings of the story of Don quixott . . . for ye State room to His Mates New Bed Chamber at Whitehall.” Scholars have related this royal purchase to a wool-and-silk tapestry now at Cawdor Castle (in Nairn, Scotland) and pictured in Treasure Houses of Britain in a section called “The Triumph of the Baroque.” Jackson-Stops describes it as “the largest of a set of five grotesque tapestries illustrating the story of Don Quixote. It shows his encounter with the strolling players who are dressed to perform The Parliament of Death, his confrontation with the royal lion, and his ignominious return in a cage to his village” (i.e. DQ 2.11, 2.17, and 1.46–9). Swarming with strange-looking Baroque figures made up of human, animal, and plant forms, the tapestry may be said not so much to depict as to allude to characters and episodes in Cervantes’s book. Jackson-Stops further notes that “The same series [of tapestries] exists at Packington Hall, Warwickshire,” and surmises that, rather than being custom made, it is likely to have been part of Poyntz’s stock in trade. 742. Millington, Edward, Bibliotheca Whateliana. W1588. UMI 2162:5 Among the books of the Revd William Whateley, a minister from near Banbury in Oxfordshire, and Simon Rutland, M.D., of Brentwood in Essex, which were offered for sale by auction on 23 April 1683, there was one which alludes to Don Quixote: “Mock-Clelia being a Comical History, and Novels in Imitation of Don Quixot. 1678” (sig. C2r , 2nd pagination). The work was a translation of 20

Jackson-Stops, Treasure Houses of Britain (Washington: National Gallery of Art, 1985), 201.

1683

413

Adrien Thomas Perdou de Subligny and was published as The Mock-Clelia: Being a Comical History of French Gallantries, and Novels, in Imitation of Don Quixote. 743. Norris, John, A Murnival 21 of Knaves: or, Whiggism Plainly Display’d. N1255. UMI 946:7 A philosopher and Church of England divine who in later days served in Bemerton, Wiltshire, John Norris (1657–1712) was also a dedicated author— one of his best-known books being Reflections upon the Conduct of Human Life.22 As a poet, he was usually both sober and lyrical, but here in Murnival of Knaves he describes a religious Whig humorously, comparing him with Don Quixote’s Sancho Panza: This Reverend Doctor of the Manca, Prudent as Quixot’s Sancha Pancha, Did gravely foot it round the Town, In Doctors Scarf, and Doctors Gown, With Janizaries two at heel, Tyd’ to Morglay’s of Bilbo-steel;23 Therefore you cannot but him grant, To be of the Church-Militant.

(p. 29; sig. E1r )

744. Remarks upon E. Settle’s Narrative. R943. UMI 508:14 Elkanah Settle (1648–1724) was a minor but energetic and highly visible dramatist (the writer of some nineteen dramatic works), noted especially for tragedy in the heroic Restoration mode. He also gained a sort of immortality by being skewered in the second part of Dryden’s Absalom and Achitophel (1682), and finally he was appointed London’s City Poet (1691). Along the way, in his Narrative of 1683, he wrote on the Popish Plot to murder Charles II (1678– 81). The anonymous writer of the present Remarks on that Narrative compares Settle with Don Quixote mounted on Rocinante: And all this the Narrative-monger did once so really believe, that he upbraids and taxes those he once called Tories, for being so nice and scrupulous for mistrusting a Popish Plot. . . . But now, by what ill fate heav’n knows, but only for a little Pocket money, the same Scruples, the same Niceties, are crept into Mr. Settles Conscience; finding it no doubt as empty as his Pocket. And therefore, mounting upon the Rosinante of his own Vain Wit, he undertakes, like another Don Quixote, 21 22 23

Murnival: a card game term meaning a set of four (e.g. four kings, queens, or knaves) and, by extension, a set of any four persons or things. Richard Acworth, Oxford DNB, 41:56–8. Morglay: both of the “Janizaries” (soldiers) who accompany the Whig carry Morglays, the latter term deriving from the name of Sir Bevis of Hampton’s sword. Bilbo, put to adjectival duty here, comes from Bilbao, the name of a city in Spain known for its fine swords.

414

cervantes in seventeenth-century england

to fight French Armies, Spanish Armies, and Armies of Jago Pilgrims,24 without so much as the help of one Sancha Pancha. (p. 11)

745. Scarron, Paul, Scarron’s Novels. S834B. UMI 2019:11 For a reference to Don Quixote’s extravagant humor and his being a great adventurer, see The Invisible Mistress in S833B (1665); in this edition, the passage is found on p. 277. 746. The Unbiass’d Satyr: or, Reflections on Manners. U29. UMI 520:9 In a passage about the manners of trimmers (those who take different political positions according to their personal shifting interests), the “Unbiass’d” satirist here alludes to Don Quixote: Thus Men on Tory Don-Quixots can look, And fear no Fate that threatens now Hunt’s Book. (p. 15; sig. C2r )

Thomas Hunt (long a steward on the estates of the Duke of Buckingham and the Duke of Norfolk) was a lawyer who moved in high circles. He overreached himself, however, in attacking Dryden’s The Duke of Guise in a work called A Defence of the Charter and Municipal Rights of the City of London (1683). This book triggered counterattacks not only from Dryden but also from Roger L’Estrange and, as is reflected in L’Estrange’s title, The Lawyer Outlaw’d (1683), orders were issued for Hunt’s arrest. He fled to Holland and died in Utrecht a few years later. 747. Winstanley, William, Histories and Observations Domestick & Foreign. W3063. UMI 804:18 In his “Preface to the Reader,” the prolific Winstanley cites Don Quixote as a cautionary example for those who read romances without discrimination: It is History that gives us a view of all Places and Times, by that we see with other mens eyes, and hear with their ears[.] But in your reading have a great care in the choice of your Authors, avoiding such as be either false or impertinent, which to a judicious eye is easily discernable: for some I have known (otherwise ingenious enough) apt to believe idle Romances, and Poetical Fictions, for Historical Varieties. Not but that ingenious Romances and witty Fables may be read, and profitably too; but to avoid such rude ones as Huon of Burdeaux, Four Sons of Amon, Fortunatus, Chinon of England, and such like, lest you be brought into the belief of Don Quixot, which that Satyrical Romance doth sufficiently whip. (sig. A4r–v )

Considering the relative and increasing rarity of most of these works, Winstanley had little to fear. Though Huon of Bordeaux was published once during the century (1601), The Foure Sonnes of Aymon, a medieval chanson de geste seems 24

Jago Pilgrims: pilgrims going to Santiago de Compostela.

1683

415

not to have had any seventeenth-century English printing. Nor did Christopher Middleton’s The Famous Historie of Chinon of England, which apparently was published most recently in 1597. The Right Pleasant, and Variable Tragical History of Fortunatus, however, by Thomas Churchyard (1520?–1604), was published at least six times in some form or other. Also found in Historical Rarities and Curious Observations Domestick & Foreign: W3062 (1684), sig. A5v .

@

1684

#

748. Allestree, Richard, The Works. A1082. UMI 755:5 In remarking on the danger of accepting the fable of Don Quixote as authentic history, Allestree mentions Sancho Panza and alludes to Don Quixote; see The Gentleman’s Calling, A1115 (1660); in this edition, the passage is found on p. 445. 749. Butler, Samuel, Hudibras. The First [and Second ] Part. B6303. UMI 784:6a

For a likely allusion to Don Quixote, references to Don Quixote and Sancho Panza, echoes of DQ 1.10, 2.51, 2.6, 1.3, and allusions to DQ 1.18, 1.17, see B6296 (1663); in this edition, the passages are found on pp. 2, 20, 58, 74, 105, 106, 153. For an echo of DQ 2.35 in Hudibras, 2.1.276; a reference to Don Quixote and Dulcinea, an allusion to DQ 2.35 in Hudibras, 2.1.875 and another in Hudibras, 2.2.437–38, see B6309 (1664); in this edition, the passages are found on pp. 238, 272, 300, 380–1. For a reference to Don Quixote, an allusion to DQ 1.8 in Butler’s own annotation of Hudibras, 2.2.15–19; and an allusion to DQ 2.59 in Hudibras, 2.3.992 ff., see B6311 (1674); in this edition, the passage is found on p. 404. 750. Butler, Samuel, Hudibras. The Third and Last Part. B6317. UMI 784:6b and UMI 784:10 (as part of B6303)

For an allusion to DQ 1.3 in Hudibras, 3.1.287, see B6313 (1678); in this edition, the passage is found on p. 16. 751. Butler, Samuel, Hudibras. In Three Parts. B6319. UMI 1522:10 For a likely allusion to Don Quixote, references to Don Quixote and Sancho Panza, echoes of DQ 1.10, 2.51, 2.6, 1.3, and allusions to DQ 1.18, 1.17, see B6296 (1663); in this edition, the passages are found on pp. 2, 20, 58, 74, 105, 106, 153. For an echo of DQ 2.35 in Hudibras, 2.1.276; a reference to Don Quixote and Dulcinea, an allusion to DQ 2.35 in Hudibras, 2.1.875 and another in Hudibras, 2.2.437–38, and an allusion to DQ 2.59 in Hudibras, 2.3.992 ff., see B6309 (1664); in this edition, the passages are found on pp. 238, 272, 300, 308– 81. For a reference to Don Quixote, an allusion to DQ 1.8 in Butler’s own annotation of Hudibras, 2.2.15–19, see B6311 (1674); in this edition, the passage is found on p. 404. For an echo of DQ 1.3 in Hudibras, 3.1.287, see B6313 (1678); in this edition, the passage is found on p. 16.

1684

417

752. Clarke, James, and Mrs. Clarke, Inventory of His Grace ye Duke of Ormonde’s Goods at Kilkenny Castle, Co. Kilkenny. National Library of Ireland MS 25541 An extensive inventory of Kilkenny Castle was taken by James Clarke and his wife in October and November of 1684, following the death that year of Elizabeth, first Duchess of Ormonde, wife of James Butler, first Duke of Ormonde. On the thirty-third page, recording the contents of a “Roome thats called The Councell Chamber,” a large bedroom containing, among other things, a four-post bed, “Six Arm’d Chairs,” and “Ten wallnutt tree Chairs,” the Clarkes’ first entry refers to Don Quixote. Apparently a defining feature of the chamber, “The Room [was] hung with five peeces of Tapestry hangings of the Story of Don Quixott eight foote deepe. Lined through with Canvis.”2 753. Coles, Elisha, An English Dictionary Explaining the Difficult Terms That Are Used in Divinity, Husbandry, Physick, Phylosophy, Law, Navigation, Mathematicks, and Other Arts and Sciences. C5072. UMI 1328:2

For a reference to Mambrino’s helmet (DQ 1.22), see C5070 (1676); in this edition, the passage is found on sig. Aa2v . 754. D., B., The Essexian Triumviri: or, A Discourse Between Three Colchester-Gentlemen Disguiz’d in Masquerade and Titus Otes. D4. UMI 451:2

In a discussion of the personal qualities of Titus Oates, a dangerous and durable rascal, the author refers to Don Quixote and Sancho Panza thus: [T]o be bang’d by an Urchin, is a piece of Tameness (not to say worse) unexampled. Herein this I must aver for Orlando Furioso, that herein, and herein only, he declared himself to be one of the Church Militant, the Don Quixot of Chivalry, the Sancho Pancha of thwacking Atchievements, the Blustring Don of Knight Errantry, and the Millenarian Kill-Cow of the Nation. O Valiant Doctor! (p. 6)

[T]he Gowty Don made a shift to raise himself, and say, Gentlemen, I must kiss your hands, after the——–Manca-mode, though with more Spanish pride than gravity. (p. 14)

755. Duffett, Thomas, The Fond Lady. D2447. UMI 937:33 For a reference to a character named Sanco-panco, an allusion to Don Quixote’s sidekick, see D2443 (1674). 1 2

Transcribed in Jane Felton, Goods & Chattels: A Survey of Early Household Inventories in Ireland (Kilkenny, Ireland: Heritage Council, 2003), 118. See herein 1652 and 1685.

418

cervantes in seventeenth-century england

756. Gadbury, John, Cardines cœli. G78. UMI 1688:2 Along with William Lilly and John Partridge, John Gadbury (1627–1704) was in his day one of England’s best-known astrologers. He is now remembered also for being accused and imprisoned for conspiring (along with Thomas Dangerfield and Elizabeth Cellier) to kill Charles II during the time of the Popish Plot, and later for plotting against William III. As he moved painstakingly toward more Baconian thinking and as Lilly and Partridge became his bitter enemies, he continued tirelessly both to collect data and to write about astrological evidence. The subtitle of his Cardines cœli announces this work as “An Appeal to the Learned and Experienced Observers of Sublunars and Their Vicissitudes, Whether the Cardinal Signs of Heaven Are Not Most Influential upon Men and Things.” In his section on “The Equinoctial and Solistial Points, The Most Influential upon Men and Things,” Gadbury alludes to Sancho Panza’s government of his island. In a passage about Pope Joan, the legendary female pontiff who is supposed to have reigned in the ninth century between Leo IV and Benedict III, Gadbury recalls her being credited with being delivered of a child in the street while walking in a public procession. He writes: Why, every Midwife, nay every simple Woman, that hath but wit enough to Get, and Bear a Child, is able to refute this Fabulous Story. . . . Her Popedom being somewhat like to Sancho’s Government, was neither able to serve, or preserve Her, with the use of common necessaries and assistances, that even an Alewife with us, in such a case, can easily procure, if not command. (pp. 38–9)

What specific parallels Gadbury may have seen between Joan’s experience and Sancho’s would be hard to say, but they probably include the overriding fact that the powers of both are a sham. In any case, though the governorship is mentioned elsewhere, Cervantes’s island episodes themselves are artfully alternated in DQ 2.45, 47, 49, 51, and 53. Another edition: G78A (1685), pp. 38–9. 757. Hobbes, Thomas, Hobbs’s Tripos in Three Discourses. H2266. UMI 357:17 and UMI 1359:21 (as H2244)

For a reference to Don Quixote’s madness in Hobbes’s Humane Nature, see H2242 (1650); in this edition, the passage is found on pp. 66–7. 758. London Jests: or, A Collection of the Choicest Joques & Repartees. L2897. UMI 1992:26 In an epistle addressed to the reader, the compiler of this anthology of jests alludes to the style of William Richards (1643–1705) in his Wallography (1682). That pleasant little book gives a first-hand picture of Wales, and Richards has occasion to comment on the language of the Welsh. He writes: ’Tis a Tongue (it seems) not made for every Mouth; as appears by an Instance of one in our Company, who, having got a Welsh Polysyllable into his Throat, was

1684

419

almost choak’d with Consonants, had we not, by clapping him on the back made him disgorge a Guttural or two, and so sav’d him. (pp. 121–2)

In short, Wallography is a genuinely humorous book, and whoever put forth London Jests tries to convey a sense of its flavor by turning to the term “Donquick-sotism.” The anonymous compiler writes: [W]hy should not I have an Imprimatur for my Jests? Which (as little as you value them) may cause in others, the same height of Laughter, which may breed more Books in the World. If one running upon an Errand to Wales, shall when he comes back be admitted like another Drake,3 to publish his Travels to the World, under that Metaphysicophylogical Title of Wallographie, why may not I be heard in my home-spun Stile, as well as he in his Don-quick-sotisms; though I confess if this custom hold long, it may come at length to be a Law, that an honest man cannot go the length of Tybourn, 4 but he must be obliged to publish his Travels, whether he come back or not. (sig. A3v )

Another edition: L2897A (1685), sig. A3v . 759. Londons Plague from Holland: or, Inquiries after the Natural Causes of Her Present Calamity. L2949. UMI 2124.4:82 The subject at hand here is Francis Mercurius van Helmont (d. 1699), an enthusiast Fleming afoot in England, and the disgruntled versifier of Londons Plague presumably voices “the indignant protest of some English physicians, who beheld this foreign adventurer and mystic attaining greater popularity and fees among their countrymen than they could gain for themselves.”5 Van Helmont was the bold and versatile sort of man who professed to cure both body and soul, and the writer wonders where the English Quixots are who might be able to handle such a mental Goliath. He writes: WHat’s Englands Metropolis become forlorne? Europes late Glory, now a Pesants scorne? The Mistress of the Seas, She that outvi’d? Her ranting Sister Cities, th’ Gallick Pride? . . . . . . . Must she now truckle to the Dooms of Fate Without a rescue? ’S no bold Champion sent To wrest her from the rudest Ravishment O’ the Rawbon’d Rascall, must he triumph thus[?] . . . . . . . Where’s all the Quixots of our age? Has none 3 4 5

Drake: Sir Francis Drake (1540?–1596), the admiral and circumnavigator. Tybourn: in Middlesex, Tyburn was long a place for public executions. Joseph Woodfall Ebsworth, ed., Bagford Ballads, Part One (Hertford, Ballad Society: Stephen Austin and Sons, 1876), 37.

420

cervantes in seventeenth-century england Th’ Elixir, the long-look’d-for Stone? 6 No Cure for her, whose Tenants made their boasts Till now, they’d rout the most victorious hosts Of all Diseases?

(s.sh.fol.)

760. Loveday, Robert, Loveday’s Letters Domestick and Forrein. L3230. UMI 1486:51

For a reference to Don Quixote and Sancho and an allusion to DQ 1.8, see L3225 (1659); in this edition, the passage is found on pp. 167–8. 761. The Melancholy Complaint of D. Otes, of the Black Ingratitude of This Present Age Towards Him, and the Evil Rewards He Has Receiv’d for His Numberless Services Done for the Nation. M1634. 467:2 As the “D” in this title suggests, Titus Oates maintained his claim to a Spanish doctorate long after its fraudulence had been exposed. The “evil rewards” noted in the title here presumably would include the well-deserved cancellation of his pension in 1682. In a section of this Complaint wherein his anonymous spokesman focuses on Oates’s “numberless services” rendered to England, mention is made of Don Quixote and DQ 1.8: The Trayterous Jesuites, and their cursed backers, Had made mount Ætna in Squibs and Crackers To throw, and burn our Cloaths to Rags and Tatters. All this Exercise of Quixot and his Mill, I was resolved to do more wonders still.

(p. 7)

762. Millington, Edward, Bibliotheca mathematica. M2567. UMI 1710:5

Millington’s auction of Sir Jonas Moore’s library was held on 3 November 1684 at the Auction House in Ave Mary Lane, London. A mathematician, Sir Jonas had served as a tutor to the Duke of York (1647), as the author of a new system of mathematics (1650), and as surveyor-general of the ordnance (1663). In Millington’s catalogue, under the heading “History, Geography, Philology, Travels, &c. In Folio,” lot no. 58 is “Gaytons Pleasant Notes on Don Quixot——1654” (p. 33; sig. K1r ). 763. Millington, Edward, Bibliotheca Sturbitchiana: sive, Catalogus variorum librorum antiquorum, & recentiorum. B2857. UMI 1710:23 Among the books Millington offered for sale by auction at Sturbitch Fair near Cambridge on 8 September 1684, under the running head “Miscellanies in Folio,” no. 97 was “History of Don Quixot——1675” (p. 31). 6

Stone: the so-called philosopher’s stone. According to alchemists, it was good both for turning base metals into gold and for making an elixir that prolonged life.

1684

421

764. Millington, Edward, A Catalogue of the Libraries of Two Eminent Persons Deceased. C1379. UMI 1710:3 Millington held this auction on 16 June 1684 at Bridge’s Coffee House. In the catalogue, under the heading “Miscellanies, viz. History, Phisick, Law, Mathematicks, Romances, &c. In Folio,” lot no. 150 is “History of the Valorous and Witty Knight Errant Don Quixot, &c.—1675” (p. 4, 2nd pagination; sig. Aa2v ). 765. Oldham, John, The Works of Mr. John Oldham. O224. UMI 2010:7 For a reference to Don Quixote as a mere legend, tale, or pack of lies, see Oldham’s Satyrs upon the Jesuits, O244 (1681); in this edition, the passage is found on pp. 44–5. Another edition in 1684: O225 (UMI 573:1; UMI 1023:1; UMI 1153:24; UMI 1291:3), pp. 44–5. Other editions: O226 (1686), pp. 44–5; O227 (1686), pp. 44–5; O228 (1686), pp. 44–5; O229 (1692), pp. 44–5; O230 (1695), pp. 44–5; O231 (1698), pp. 44–5. 766. Otway, Thomas, The Atheist: or, The Second Part of The Souldiers Fortune. O541. UMI 644:6 The playwright Otway (1652–1685), both in his own day and later, has been most esteemed for his tragedies, especially Venice Preserved (1682). In the year following that work he put forth The Atheist, his final comedy and play. In the second act, a masked and disguised Porcia engages Captain Courtine in a conversation, during which they allude to Don Quixote’s encounter with a windmill (DQ 1.8) and think briefly about both the windmills and water mills around London. The masked lady speaks: Porcia. Have you then made your Escape, Sir, from your dear Wife, the LadyTyrant of your Enchanted Castle in the Country, to run a wandring after new Adventures here? Oh all the Windmills about London, beware! Court. Ay, and the Watermills too, Madam. In the Devil’s name, what will become of me! Porcia. For the Quixot of the Country is abroad; Murder by his Side, Enterprises in his Head, and Horrour in his Face. (p. 12)

At the opening of Act 5, with Cervantes in mind again, Otway has Lucretia enter in “Man’s Cloaths,” declaring “I have a hundred . . . times wish’d myself a Man; and now, in outward appearance, I am a very Fellow; nay, a very pretty Fellow: for, methinks Foppery, Impertinence, Self-conceit, and other Masculine Qualities grow upon me strangely” (p. 55). After she has gone on a bit more, Chloris, her woman, asks “And must your Honour have a Mistress too?” In shaping her reply, Lucretia calls to mind Don Quixote’s lady-love.

422

cervantes in seventeenth-century england

Yes Huzzy, and you shall be serviceable to me in the matter: I’ll have a Doxy 7 this very Night; I have singled her out already; Courtin’ s Wife, that jealous, raging, insatiable Help-meet of the Captains shall be my Dulcinea del Toboso. She’s in Love with me already, that’s my comfort: as I passed through the Hall just now, she . . . leer’d at me, as if that Minute she took Aim at my Heart, and designed me for her Quarry. (p. 56)

Also found in The Works of Mr Thomas Otway: O537 (“1691,” really 1696), pp. 12, 56; O538 (1692). 767. S., R., “Epistle” in Joseph Hall’s The Travels of Don Francisco de Quevedo Through Terra Australis Incognita. A Novel, Originally in Spanish. H422a (formerly Q195 and T2054). UMI 1429:4 (as Q195), 1432:16 (as T2054), and 1672:12 (as H422a)

Hall (1574–1656) was not only Bishop of Exeter and Norwich and a figure at court, serving in the early days of the century as chaplain to Henry, Prince of Wales, and in 1617 traveling with King James to Scotland; he was also a writer, now perhaps best known for his audacious youthful verse satires in Virgidemiarum (1597), his Theophrastan character book called Characters of Vertues and Vices (1608), and his utopian prose satire, Mundus alter et idem (1605), translated by John Healey as The Discovery of a New World (1609) and long after Hall’s death published as The Travels of Don Francisco de Quevedo— which title capitalized on the great Spanish writer’s fame. In an epistle addressed to the readers of The Travels, “R. S.,” posing as the translator of this work, says he acquired the manuscript in Bilboa just in time to save it from destruction: It was very much defaced; Time or Accident having Worn, or Torn out those Characters, which serve for distinction of Ages; as also our Travellers Name; Except in one place, where was Remaining thus much of the Mouse-eaten Author, Don Q. and from hence I concluded, it must be either Quevedo, or Quixot. . . . (sig. A4r )

768. Southerne, Thomas, The Disappointment: or, The Mother in Fashion. S4755. UMI 1732:19 Born and educated in Ireland, Southerne (1660–1746) left for London while young and soon became part of the theatrical scene there. The Disappointment, his second play, was performed at Drury Lane and honored with a command performance for Charles II. Apparently an agreeable good man, early and late, Southerne made many notable friends—from John Dryden to Thomas Gray—and “almost alone among Restoration dramatists made playwriting pay.”8 In The Disappointment, Southerne took the intrigue of his main plot from the story of “The Curious Impertinent” in Don Quixote 1.33–5. Langbaine first cited Cervantes as a source in 1691. 7

Doxy: paramour.

8

Eric Salmon, Oxford DNB, 51:689–90.

1684

423

769. Wilson, John, The Cheats. A Comedy. The Third Edition. W2918. UMI 1320:32

For a reference to the burning of Don Quixote’s library (DQ 1.6) and a passage in which Wilson satirizes the language of Rosicrucians, calling the Rosicrucian philosophy “Quixotism,” see W2916 (1664); in this edition, the passages are found on sigs. A2r and E1r . 770. Winstanley, William, Historical Rarities and Curious Observations Domestick & Foreign. W3062. UMI 993:4 For a reference to Don Quixote’s utter belief in romances, see C3063 (1683); in this edition, the passage is found on sig. A5v . 771. Winstanley, William, Poor Robin 1684. An Almanack After a New Fashion. A2203. UMI 931:64 In “Observations on January,” Winstanley would have “Don Quixot” celebrated on 8 January (sig. A5r ).

@

1685

#

772. Catalogue of his Grace the Duke of Ormond’s Books at his Grace’s Closet at Kilkenny Castle1 James Butler (1610–1688), first Duke of Ormonde and sometime Lord Lieutenant of Ireland, was an Anglo-Irish aristocrat who became one of the more prominent figures of his day. Late in life, but soon after the death of his wife, Elizabeth, 1684, he ordered an inventory of their furnishings at Kilkenny Castle (see herein James Clarke, 1684). The catalogue at hand, compiled at the direction of His Grace on 6 January 1685, records the books in his “Closet” at Kilkenny. Since such a room was defined sometimes as a “private councilchamber” (OED), the room in question is probably the same as that designated here previously as “the Roome thats called The Councell Chamber.” Thus the same room that displayed Don Quixote in tapestries had on its shelves not only volumes by Chaucer, Shakespeare, Spenser, and Milton, but also—in a clutch of French-language books—“Don Quixote. 2 vols.” (p. 521). If the latter were, indeed, in French, that should be no surprise. Besides the fact that, as a gentleman, the foreign modern language he was most likely to learn was French, Ormonde had at different times lived for extended periods in France, both when trying to save Charles I and later, after Charles’s execution, when he joined the exiled court in Paris. 773. Coles, Elisha, An English Dictionary Explaining the Difficult Terms That Are Used in Divinity, Husbandry, Physick, Phylosophy, Law, Navigation, Mathematicks, and Other Arts and Sciences. C5073. UMI 1576:6

For a reference to Mambrino’s helmet (DQ 1.22), see C5070 (1676); in this edition, the passage is found on sig. Aa2v . 774. A Consolatory Epistle to D. T [itus]O[ates] in his Present Circumstances. C5928. UMI 377:15 The “doctorship” indicated in this title was but one of the fabrications of the fabricator of the 1678 Popish Plot (see Fig. 23). Though Oates did flee to Spain when things got too hot for him in England, and he did manage to enter and be expelled from the Jesuit College at Valladolid, and then be expelled from St. Omer’s, too, he never made it to Salamanca, whence he claimed to have received a D.D. (Lane, Titus Oates 57). 1

The catalogue is reproduced in Calendar of the Manuscripts of the Marquess of Ormonde, K. P., Preserved at Kilkenny Castle. New Series. (London: HMSO by Mackie, 1902–20), 7:513–27.

1685

425

23. The Doctor Degraded, or The Reward of Deceit (1685) is a broadside celebrating the fall of “the Right Perfidious” conspirator and faux doctor Titus Oates, chief fabricator of the Popish Plot in 1678 to assassinate Charles II and crown James, Duke of York. Above Oates’s head on the pillory is the message “here stand i for perjury”.

426

cervantes in seventeenth-century england

The author of this satirical epistle mentions Sancho Panza and his physician (DQ 2.47) in a passage where he expatiates on “Dr.” Oates’s profession: [W]e must find some new Profession for your Learned Doctorship. . . . I find in Spain two Sects of Physicians, one practising upon those onely that enjoy perfect health, the other upon infirm. Of the former profession was Don Pedro Rezio Sancho Panca’ s Physician in his Government, and in that I suppose you Commenc’d. (pp. 4–5)

Another edition in 1685(?): C5929, same pagination. 775. Duval, Pierre, Geographia universalis: The Present State of the World. D2919. UMI 65:7 The title page of this translation announces that the well-known geographer and cartographer Pierre Duval (1619–1682) was commanded by Louis XIV to compose Le Monde ou la Geographie Universelle (1670) for the edification of his first child, Louis the Grand Dauphin. There were also other readers to be edified: Ferrand Spence, the translator of the work (who describes himself modestly as “only the Englisher”), assures his own readers that in France the work was “Unanimously approv’d by the learned part of that King’s subjects” (sig. A3v ). Well into Spence’s translation, in the course of a rapid rundown of the regions of Spain, readers would come across a sentence mentioning Don Quixote. Immediately following a brief glance at Aragon (which “has no good Towns but Saragossa”) and Navarre, the volume goes on to give somewhat more attention to “Old-Castile” and “New-Castile,” noting particularly Philip II’s Escorial (pp. 234–5). The passage closes with this sentence: “The small Territory of la Manche is made the Native Country of Don Quixot” (pp. 234–5). Another edition in 1685: D2919A (UMI 2353:7), pp. 234–5. Other editions: D2919B (1690), p. 234–5; D2920 (1691), pp. 234–5. 776. Eachard, John, The Grounds and Occasions of the Contempt of the Clergy. E56B. UMI 2353:8 For a reference to “the great Don of Mancha,” a work “beyond all controversy . . . sufficiently approved of ” and an inspiration for witty conversation, see E50 (1670); in this edition, the passage is found on pp. 44–6. Another edition in 1685: The Grounds & Occasions of the Contempt of the Clergy. The Ninth Edition, E53, pp. 44–6. 777. Gadbury, John, Cardines cœli: or, An Appeal to the Learned and Experienced Observers of Sublunars and Their Vicissitudes. G78A. UMI 1847:29

For a reference comparing Pope Joan’s reign to Sancho’s island governance of Barataria (both ineffective), an allusion to DQ 2.44–53, see G78 (1684); in this edition, the passage is found on pp. 38–9.

1685

427

778. London Jests: or, A Collection of the Choicest Joques and Repantees. L2897A. UMI 2408:14 For a reference to Don-quick-sotisms, see L2897 (1684); in this edition, the passage is found on sig. A3v . 779. Mackenzie, George, The Religious Stoic. M200. UMI 1954:24 For a spurious opinion attributed to Don Quixote’s chaplain, see Mackenzie’s Religio Stoici, M195 (1663); in this edition, the passage is found on p. 82. Another edition in 1685: M200A (UMI 2431:1), p. 82. 780. Millington, Edward, Bibliotheca Gallica, Italica, Hispanica, continens libros . . . cujusdam nobilis angli (haud ità pridem) defuncti. B2827. UMI 1710:13 Among those books Millington offered for sale by auction at Bridge’s Coffee House on 10 November 1685, several were by Cervantes. In the catalogue, under the heading “[Libri] Hispanici in Quarto,” no. 13 is “Don Quixote de la Mancha 2d . parte———Madrid 1615” (p. 14). Under the heading “Hispanici in Octavi, Duodecimo, &c.,” no. 7 is “Don Quixote de la Mancha por Mig. Cervantes Saavedra Oct.—En Brussel. 1607”; no. 8 is “Historia de Persiles, y Sigismunda por Mig. Cervantes Saavedra Oct.— Par. 1617”; no. 9 is “same again”; no. 10 is “Los 6 Libros de la Galatea, por Mig. de Cervantes——En Barcelona 1618”; no. 11 is “Novelas Exemplares de Mig. de Cervantes——En Pamplona 1614” (p. 15). Particularly notable here because so little known in England is La Galatea, Cervantes’s first book, a pastoral romance. It first appeared in 1585, then several times thereafter. 781. Millington, Edward, Bibliotheca Warneriana. W899. UMI 1710:8 Millington auctioned the library of John Warner, Lord Bishop of Rochester (1581–1666), on 16 February 1685. In the catalogue, under the heading “Libri Hispanici, in Octavo, 12o &c.,” lot no. 22 is “Novelas Exemplares de Miguel de Cervantes Savedra——1614” (p. 28; sig. G2v ). 782. Millington, Edward, A Catalogue Containing Variety of Ancient and Modern English Books. C1255. UMI 1710:16 Among the books Millington offered for sale by auction at Petty Canon’s Hall on 30 November 1685 was one by Cervantes. In the catalogue, under the running head “English in Folio,” lot no. 128 is “History of Don Quixot—— 1628” (p. 3). Since there seems not to have been a 1628 English version of Don Quixote, one may only guess what edition Millington had in hand. 783. A Narrative of the Late Dreadful Battels Between the Potent Prince de l’Or and Mendicoso, the Grand Duke of Penuria. N191a. UMI 1708:7 This broadside gives an account of the respective forts, allies, numbers of men killed and taken prisoner, etc. in the battles between Wealth and Poverty. The

428

cervantes in seventeenth-century england

fifth assistant of Poverty is Don Projectoro—a projector being one who hopes to prosper by means of some scheme or plan. This particular projector is Duke of the Brain-pan Windmills, and very likely alludes to DQ 1.8. See William Winstanley’s Poor Robin’s Intelligencer Reviv’d (1678). 784. Oldham, John, Satyrs upon the Jesuits. O246. UMI 1023:1 For a reference to Don Quixote lumped together with false legends, tales, and lies, see O244 (1681); in this edition, the passage is found on pp. 44–5. 785. Parkhurst, Thomas, Catalogus variorum librorum ex bibliothecis selectissimis doctissim. virorum nuperrime defunctorum. P491. UMI 157:3, 1710:12 Parkhurst (c.1632–1711) was described by a former apprentice, John Dunton (q.v.), as “the most eminent Presbyterian bookseller in the three kingdoms.”2 Apparently a canny, thoughtful man, he circulated manuscripts for readers to evaluate before he published them, produced nearly a thousand books, and remained a kindly, honest man. With the aid of the catalogue at hand, Parkhurst auctioned a collection of choice books from “the Libraries of two Learned Men deceased.” Held at Bridge’s Coffee House in Pope’s Head Alley, near the Royal Exchange in Cornhill, on 19 October 1685, the sale lasted from nine in the morning until noon, then from two to six in the afternoon—and was to “continue dayly till all the Books are sold” (sig. A2v ). In addition to providing catalogues to various booksellers in London (with establishments in “Pellmell,” Fleet Street, St. Paul’s Churchyard, and “under the Gate on London Bridge”), Parkhurst sent copies to Henry Clement in Oxford and Francis Hicks in Cambridge. In the catalogue, under the heading “Miscellanies Folio English,” sandwiched between George Sandys’ “Travels” and “The siege of Breda with Maps,” lot no. 10 is “Gaytons festivous notes on Don Quixot——” (p. 88; sig. Y2v )— that is Edmund Gayton’s jocular volume of 1654. 786. Phillips, Edward, The Mysteries of Love & Eloquence. P2067. UMI 1292:6

For a reference to Don Quixote in “A Short Advertisement to the Reader,” see P2066 (1658); in this edition, the passage is found on sig. a2v . 787. Register of the Worshipful Company of Stationers Entry for 26 December 1685: Henry Cruttenden. Thomas Hodgkin. Entred then for their booke or coppy under the hand of Master Warden Bellinger entituled The life and atcheivements of the most renown’d Don Quixote of Mancha. By J[ohn] P[hillips] Gent. The poetry by several eminent hands. Made English from the Spanish Originall Lycensed by 2

Dunton is quoted by Harold Love, Oxford DNB, 42:787–8.

1685

429

Sr Roger Le Strange, the 26th December, 1685 . . . vjd [signed] Henry Cruttenden. Thomas Hodgkin. (Transcription from Eyre and Rivington, Transcript of the Registers, 3:297)

788. Scroope, Carr, “In Defense of Satire,” in John Wilmot, Earl of Rochester’s Poems on Several Occasions. R1755. UMI 799:25 For a reference to Don Quixote’s fancied battles, see R1753 (1680); in this edition, the passage is found on p. 42. 789. Tate, Nahum, “Old England: or New Advice to a Painter,” in Aphra Behn, Miscellany, Being a Collection of Poems by Several Hands; Together with Reflections on Morality: or, Seneca Unmasqued. M2230. UMI 190:11

A rather odd compilation edited by the prolific Aphra Behn (1640–1689), this miscellany, which does indeed have a variety of poems, has also an eighty-onepage translation of the Maximes (presented as “Reflections on Morality”) of François, Duc de La Rochefoucauld (1613–1680). It might be surmised that Behn herself was offering the reading public something of an antidote to some of her notably coarse plays (e.g. The City Heiress of 1682). In any case, the particular poem at hand, “Old England: or New Advice to a Painter,” though presented anonymously in the Miscellany, has been attributed to the playwright, translator, and poet Nahum Tate (c .1627–1666). One of a number of advice-to-a-painter poems written at the time, it refers to both Don Quixote and windmills (DQ 1.8): Now cross thy self my Dear, for now is come Sir Pacolet with his Advice from Rome; . . . . . . . Swifter than Thought, from Tyber he’s at Thames, Good Lord! What Castles of the Air he names, What vast discoveries, does he there discry, Unseen by all but Salamanca’s Eye! What Lady’s there distress’d, what Knight’s in wall Lockt up, yet Pacolet still frees ’em all; Talk not of Rome’s Zamzummines; he no more Will make of them, than Bellarmine before. Windmills, and Castles in the Air must down, Quicksot and Hudibrass here meet in one. (pp. 99–100; sig. H2r–v )

“Pacolet,” a dwarf in the old romance of Valentine and Orson, is particularly noteworthy with regard to Don Quixote because he made a wooden horse that could magically transport Pacolet anywhere he wanted to go. This is at least reminiscent of the wooden horse Clavileño, on which Don Quixote and Sancho ride (DQ 2.41; see Fig. 19). Reaching still further back, mention of “Rome’s Zamzummines” alludes to a tribe of giants destroyed by God (Deuteronomy

430

cervantes in seventeenth-century england

2:20–1). And Cardinal Roberto Bellarmine (1542–1621) comes to the writer’s mind because he was long considered by Protestants to be the major spokesman for the Vatican. Of particular interest here, perhaps, is the linking of Cervantes’s Quixote with Butler’s Hudibras. 790. Thompson, Nathaniel, A Choice Collection of 180 Loyal Songs. T1003. UMI 1053:4 Thompson (d. 1687), an Irish printer, began his career as an apprentice to Dublin’s leading bookseller, but in later years moved to England. In London in 1678, while claiming to be a Protestant, he was accused of printing thousands of copies of Catholic books. In the 1680s he became London’s leading publisher of Tory ballads and pamphlets—of which his 180 Loyal Songs is a major example. For a while after the accession of James II he clearly became one of London’s major Catholic printers and booksellers.3 For a satiric reference to courageous Don Quixote in The Newgate Salutation, or a Dialogue between Sir W. W. and Mrs. Cellier, see N918A (1681); in this collection, the passage is found on p. 109. Another edition: A Collection of One Hundred and Eighty Loyal Songs, T1006 (1694), p. 109. Not found in: A Choice Collection of 120 Loyal Songs, T1004 (1684). 791. Thompson, Nathaniel, A Collection of 86 Loyal Poems. T1005. UMI 552:8

For a reference to Don Quixote and an allusion to the innkeeper’s daughter and her companion-in-mischief Maritornes (DQ 1.16) in “A Canto upon the Miraculous Cure of the K[ing]’s Evil, Perform’d by the D[uke] of M[onmouth] in 80,” see The Oxford Alderman’s Speech, C463 (1681); in this collection, the passage is found on p. 21 (sig. C3r ). In “The Melancholly Complaint of Doctor Titus Oates,” there is also a reference to Don Quixote, an allusion to DQ 1.8: For as we are told by a deceased Squire In’s Narratives of Massacres and Fire How narrowly we scap’d the Papists Ire . . . . . . . The Trayt’rous Jesuits, and their cursed backers . . . . . . . All this was but a Tryal of my Skill, Like th’Exercise of Quixot and his Mill, I was resolv’d to do more wonders still. (p. 307; sig. X2r ) 3

William Burns, Oxford DNB, 54:459–60.

1685

431

792. Tyton, Francis, “A Catalogue of Books,” in John Flavel’s –ÌÂıÏ·ÙÔÎÔ„È· [Pneumatologia]. A Treatise of the Soul of Man. F1176. UMI 960:22 At the end of Flavel’s work is found “A Catalogue of Books Printed for, and Sold by Francis Tyton Bookseller at the Three Daggers in Fleetstreet near the Temple-Gate,” under the heading “Books in Folio.” Among the latter is “The History of the valorous and witty Knight Errant Don Quixote” (sig. Ooo2v ), apparently the volume published in 1652 . 793. Wesley, Samuel, senior, Maggots: or, Poems on Several Subjects Never Before Handled. By a Schollar. W1374. UMI 1559:21 This Samuel Wesley (1662–1735), a “Schollar” still in his early twenties when he brought forth Maggots, took his B.A. from Exeter College, Oxford, some three years later. Eventually he would become not only a divine and a prolific writer of prose and verse, but also father of the evangelist John Wesley. In “On Two Souldiers Killing One Another for a Groat,” Wesley refers to Don Quixote’s encounter with giants, clearly an allusion to Don Quixote’s mistaking windmills for giants, DQ 1.8: Full doleful Tales have oft been told, By Chimney warm in Winter cold, About the Sacred Thirst of Gold . . . . . . Well! Who can tell how soon he may dye? Both, as good Friends as You and I, Their hungry Wembs 4 to satisfie? Scale an enchanted Castle: Painted without some think’t a kin, To that renowned Fort wherin Quixot the Great such fame did win, (p. 7) And with fell5 Gyants Wrastle.

The last line of the poem is marked for an end-note but lacks the specific book and page number in Don Quixote. It reads: Vid. Book the p. the of the renowned History of Don Quixot. Where the Knight was in great Peril by three dreadful Leather-Bottles of Wine, whom after a sore Battle, he at last Valiantly hew’d all to pieces. (p. 9)

The passage refers to DQ 1.35, wherein, asleep, Don Quixote imagines himself to be fighting a bad giant named Pandafilando de la Fosca Vista. The poem “To My Gingerbread Mistress” has a passage that triggers an endnote reference to Mambrino’s helmet, Dulcinea, and Don Quixote: 4

Wembs: bellies.

5

Fell: dreadful, fierce.

432

cervantes in seventeenth-century england ’Tis not that Coronet which does shine With Beams not half so bright as thine, Which scatter Glories that excell The Nose of Zara’s Dowzabel. (p. 24)

Again the last line is marked for an end-note, and the note reads: Vid.——The famous and renowned History of Don Zara del Fogo; 6 ——the Lady of whose best Affections, (a piece of purtenance as necessary to a Knight Errant, as Mambrino’s Helmet, or the Parallel of this Lady [Dulcinea del Toboso] to Don Quixot) whose Damsel that had wofully besmitten the gentle Knight, was, (after all these Parentheses,) Yclept—Dowzabella,—Of whom the Poet thus, “Whose gallant gray Eyes, like Stars in the Skies, Denoted, &c.[”] (p. 27)

There are still other references to Don Quixote in “The Leather Bottle”— the Spanish for the latter word being borachio: Gigantic Borrachio’s Sir Quixot did fright, And maugre poor Squire, made an Ass of the Knight; Had my Bottle been there, ’twould ha’ been more compliant, For he ne’re could mistake such a Dwarf for a Gyant. (p. 115)

This time the first line is marked for a note: “[Gigantic Borrachio’s Sir Quixot did fright.]” (p. 118) Another edition in 1685: W1375 (UMI 907: 1), same pagination. 794. Winstanley, William, Poor Robin, 1685. An Almanack of the Old and New Fashion. A2204. UMI 1084:22 In “Observations on January,” Winstanley would have “Don Quixot” celebrated on 29 January (sig. A5r ).

6

Don Zara del Fogo: a mock-romance by Samuel Holland (1656).

@

1686

#

795. A Catalogue Containing Variety of English Books. C1257. UMI 1326:29 An auction of books was held on 20 December 1686 at Bridge’s Coffee House in Pope’s Head Alley, Cornhill. In the catalogue, under the heading “English History and Philology, small Fol.,” no. 156 is “Gayton Notes upon Don Quixot———1654” (p. 6). 796. Catalogus variorum librorum ex bibliothecis selectissimis doctissimorum virorum, viz. R. D. Johan. Bradford, D.D. [and]R.D.Gulielmi Cooper, A.M. Londinensium. B4103. UMI 1303:10 Works of English history and philology in small folio from the library of the learned John Bradford (d. 1685) and William Cooper were offered for sale by auction at Bridge’s Coffee House in Pope’s Head Alley, Cornhill, on 14 June 1686. In the catalogue, No. 126 is “[The History of the Valorous and Witty KnightErrant] Don Quixot——1652” (p. 29). 797. Cervantes Saavedra, Miguel de, The Famous History of Don Quixote of La Mancha. C1772. UMI 1611:29 An anonymous chapbook of twenty-four pages, this abridgment of Don Quixote printed for George Conyers might be thought of as a cheerful comicbook version of Cervantes’s work. Its subtitle tells all: Containing An Account of his many Adventures, and wonderful Exploits in Encountring [sic] supposed Armies, Giants, Inchanted Castles, Knights, and other Adventures; his Love of Ladies: with the Merry Humours of Sancho Panca his Squire. Pleasant and Profitable, &c. Licensed according to order, June 12, 1686.

The text begins without any prefatory matter. 798. Cooper, William, Catalogus librorum theologicorum, philologicorum, mathematicorum, &c. Dris. Stokes & aliorum. S5726, S5717a. UMI 2468:5

David Stokes (1591?–1669), a Cambridge D.D. (1630), was a noteworthy royalist churchman and writer of religious books. French and Italian books owned by Stokes and others were offered for sale by auction conducted by Cooper on 1 December 1685. In the catalogue, no. 635 is “Les Nouvelles de Miguel de Cervantes Saavedra——1615” (p. 28), wherein six were translated into French by Vital D’Audiguier and six by François de Rosset.

434

cervantes in seventeenth-century england

799. Cooper, William, and Edward Millington, Catalogus variorum. D426. UMI 913:21 Cooper and Millington merged forces here to conduct an auction of books from Oxford’s leading bookseller beginning Monday, 19 April 1686. Richard Davis (1617/18–1695?), we learn from a later catalogue, was undergoing “misfortunes”; indeed he had gone bankrupt, and his huge inventory was sold to satisfy his debtors.1 In the catalogue, under the heading “English, in Folio,” No. 152 is “Gayton (Edm.) Pleasant Notes upon Don Quixot—Id. [Oxford] 1654” (p. 150). 800. Cooper, William, and Edward Millington, Catalogi variorum librorum Richardi Davis bibliopolæ. Pars secunda. D427. UMI 1613:21

In an epistle addressed to potential buyers, Davis confided to Oxonians: “This is the second time I have published a Catalogue for the Benefit of this University. It was for your sakes that I at first accumulated these Books, and it is my great desire they should be dispersed amongst you; nor shall I willingly expose any of them elsewhere so long as I find your favourable Acceptance.” In prefatory remarks about conditions of the sale, Davis requests “That all Gentlemen Buyers be pleased to give in their Names, and of what Colledges or Halls they belong to”—and at the same time he notes that “Persons in the City of London, Cambridge and elsewhere” may send in their “Commissions” (n.p.). Distributed gratis by Cooper and Millington, the catalogue was available not only at five London locations (The Pelican in Little Britain, The Queen’s Arms in Pall Mall, The Harrow in Fleet Street, The Acorn in St. Paul’s Churchyard, and The Three Pigeons near the Royal Exchange) but also at the “Auction House” in Oxford and coffee houses in Cambridge. Among the many works slated for auction “at Mr. Newman’s House” on Monday, 4 October 1686, at least five are related to the work of Cervantes. In a section headed “English in Folio,” no. 137 is “Exemplary Novels in six Books, translated out of Spanish—Ib. [i.e. London] 1640” (p. 107). This is, of course, James Mabbe’s version of Cervantes’s Novelas ejemplares. In the same section, no. 164 is “Gayton (Edm.) Pleasant Notes upon Don Quixot—Ib. [i.e., London] 1654” (p. 108). Gayton’s book-long jeu d’esprit is introduced in the present volume under the heading “1654.” In a section headed “English Miscellanies in Quarto,” no. 692 is “Travels of Persiles and P . [sic] Sigismunda, a Northern History – – 1619” (p. 130). This romance, Cervantes’s final work, was first published in English only two years after its first appearance in Spain. The superfluous “P ” is probably a printer’s error. A section headed “English Miscellanies, Folio,” no. 94 offers “Gayton (Edm.) Pleasant Notes upon Don Quixot – – ibid. 1654” (p. 187). 1

See Margaret Forey’s article in Oxford DNB, 15:462–3.

1686

435

In a section headed “English Miscellanies, Folio Omitted ” (i.e. previously omitted and now added), no. 223 is “Pleasant Notes upon Don Quixot, by Edmund Gayton—ibid. 1654” (p. 189). From the number of copies he kept in stock, one might conclude that Davis figured Gayton’s approach to Don Quixote would appeal to and sell particularly well among university students. Yet another auction of Davis’s stock was held in 1692. 801. Johnson, Richard, The Seven Champions of Christendom. The Third Part. J806. UMI 2032:7 Richard Johnson (1573–1659?) was among the most successful of English writers of chivalric romance. Based on medieval lore, his Seven Champions, the first part of which appeared in 1596, proceeded to enjoy numerous editions as well as sequels and abridgments right on through to the close of the seventeenth century and many years thereafter. Thirty or so years after his death, this “Third Part,” dedicated to Ralph Harrison of Essex, included an address “To the Courteous READER” that mentions Don Quixote’s library, particularly the books in it that Don Quixote’s friends deemed worthy of exempting from destruction (DQ 1.6): The general acceptance which the two first Parts of this Renowned History have received, hath invited my Pen to the prosecution thereof in a third Part. . . . We have also endeavoured herein to write nothing improbable, much less impossible; such as are inserted in several Histories, where they make nothing of cutting asunder two or three Gyants at one blow by the middle, with many other things void both of sense and reason, but in our undertakings we have related nothing but what to a judicious Reader may seem probable to be effected, so that we doubt not if our History had been in the Library of Don Quixot that famous Knight Errant, it would have been preserved from the fire by the Barber and Licentiate. (sigs. A3r –4r )

Other editions: J804 (1696), sigs. A3r –4r ; J800 (1696), sigs. A3r –4r (3rd pagination). 802. Millington, Edward, A Catalogue Containing Variety of Books of the Common & Statute Law, Ancient and Modern. C1256. UMI 1710:21

Millington’s note addressed “TO THE READER” begins with the information that “THIS Sale consists of the Libraries of two Eminent Gentlemen of the Long Robe” (n.p.). Inviting “Gentlemen the Buyers . . . to a sight and examination” of his wares “for three whole days preceding the Sale,” Millington goes on to announce it as beginning on Thursday, 18 February, “at the Auction-House in Ave-Mary-Lane” (9 a.m. to 12:00, 2 p.m. to 6 p.m.). Cervantes’s name surfaces here in a catch-all category of “Miscellanies, History, Philology, Poetry, &c. in Quarto.” Following Don Bellianis of Greece and preceding The Delectable History of Reynard the Fox, no. 52 is the “Troublesom and hard adventures of Love by Michael de Cervantes—1652” (p. 11; sig. C2r ).

436

cervantes in seventeenth-century england

As noted here previously (see entry at 1652), Troublesome and Hard Adventures is actually an anonymous romance. Compounded of pastoral, Heliodoran, and chivalric elements, it dates back at least as far as 1594 (Arber, Transcript of the Registers, 2:654) and evidently was put forth nearly sixty years later with hopes that it might be enhanced by being hitched to Cervantes’s star. 803. Millington, Edward, A Collection of Choice Books Curiously Bound. C5119. UMI 1438:12 and UMI 1710:20 Among the works Millington offered for sale by auction at Bridge’s Coffee House in Pope’s Head Alley on Monday, 8 February 1686, some may have been the property of “Mr. R[ichard] Chiswel, Bibl.,” himself a seasoned London bookseller. At any rate, in a collection headed “Miscellanies in Folio,” no. 636 is “Don Quixot, the witty and valourous Spaniard, History of his Life——1675” (p. 8). 804. Oldham, John, The Works of Mr. John Oldham. O226. UMI 723:25 For a reference to Don Quixote as a mere legend, tale, or pack of lies, see Oldham’s Satyrs upon the Jesuits, O244 (1681); in this edition, the passage is found on pp. 44–5. Other editions in 1686: O227 (UMI 1266:9), pp. 44–5; O228 (UMI 1266:10), pp. 44–5. 805. Philipps, Thomas, Bibliotheca Angleseiana. A3166. UMI 1472:3 Philipps offered here the library of Arthur Annesley, first Earl of Anglesey, for sale by auction at the Black Swan in London on 25 October 1686. A prominent figure in his day, Annesley at the time of the Restoration was named president of the Council of State (February 1660) and Earl of Annesley the following year. After the Restoration he served as a privy councillor, treasurer of the navy (1667), and lord privy seal (1672)—but was relieved of the latter post for criticizing the king’s government (1682). Listed in the catalogue under the heading “Libri Hispanici in 8vo, 12s, &c.,” no. 5 is “Las Obras del Ingenioso Cavaliero Don Quixote de la Mancha.—–En Bruselas 1616” (p. 97). 806. A Vindication of the Clergy. V500CB. UMI 1685:25 (where it is identified as E66)

For a reference to “the great Don of Mancha,” see V500CA (1672); in this edition, the passage is found on p. 61. 807. Waller, Edmund, Poems, &c. W517. UMI 588:4 For a reference to Don Quixote 1.8 in “To the Mutable Fair,” see W511 (1645); in this edition, the passage is found on p. 128.

1686

437

808. Winstanley, William, Poor Robin, 1686 An Almanack of the Old and New Fashion. A2205. UMI 1393:6 In “Observations on January,” Winstanley indicates that “Don Quixot” is to be celebrated on 8 January (sig. A5r ). 809. Wood, Anthony à, The Library of Anthony Wood 2 A well-known but little-liked antiquarian, historian, diarist, and lifelong Oxonian, known best for his biographical and invaluable Athenae Oxonienses (1691–2), Anthony à Wood (1632–1695) amassed a huge collection of manuscripts and books. Though he built it mainly to have information at hand concerning men associated with the university and the city of Oxford, he nevertheless also acquired along the way a significant number of literary works, classical, continental, and English. Comparatively speaking, there was a mere smattering of these, usually only single items, but among them was a Don Quixote. One cannot say what year Wood acquired it, but considering the endof-the-century fame of the work, it is notable that his copy was published in 1686, about three-quarters of a century after the initial appearance of Shelton’s translation. Listed in his catalogue simply as “Don Quixot,” its title actually is The Famous History of Don Quixote de la Mancha, and is now in the Bodleian Library at Oxford with the call number Wood 259(12). However one chooses to evaluate the fact, it is an extreme abridgment of Don Quixote—a chapbook of twenty pages. Inside it there is a single handwritten “Don Quixot” and a scribble, both perhaps the work of Wood. 810. Wyer, Enoch, A Catalogue of Choice Books. W2052. UMI 371:14 Among the books from the collection of William Whitwood which were offered for sale by auction on 17 May 1686 at Trumpington (near Cambridge) was one in octavo: “Madam Quixot, a Comical History of French Gallantries, and Novels—1678” (p. 7). Not by Cervantes, this work was a translation of Adrien Thomas Perdou de Subligny’s work. Indeed, a second copy was offered under its real title: “Mock Clelia, a Comical History of French Gallantries in Imitation of Don Quixot—1678” (p. 8).

2

The information in this entry is drawn chiefly from Nicolas K. Kiessling, The Library of Anthony Wood (Oxford: Oxford Bibliographical Society, 2002), where the item at hand, no. 1679, is recorded on p. 160. Also helpful is Catalogue of Hispanic Manuscripts and Books before 1700 from The Bodleian Library and Oxford College Libraries (Oxford: Primer Congreso Internacional de Hispanistas, 1962), a copy of which was kindly presented to Dale Randall by its co-author Professor P. E. Russell in 1963.

@

1687

#

811. Allestree, Richard, The Gentlemans Calling. A1129. UMI 680:11 For references not only to the danger of accepting the fable of Don Quixote as authentic history, but also to Sancho Panza and an allusion to Don Quixote, see A1115 (1660). In this edition, the passage is found on p. 134. Also found in Allestree’s Works (1687): A1083 (UMI 5:1), p. 445 (1st pagination). 812. Atterbury, Francis, An Answer to Some Considerations on the Spirit of Martin Luther and the Original of the Reformation. A4146. UMI 303:17

Eventually Bishop of Rochester and a Jacobite conspirator, Atterbury (1662– 1732) was a promising young Oxonian and Anglican polemicist at the time he wrote this Answer. Writing in response to an anti-Lutheran pamphlet called Two Discourses Concerning the Adoration of Our B. Saviour in the H. Eucharist (1687) by R. H. (i.e. Abraham Woodhead [1609–1678]), Atterbury at one juncture tries to emphasize a point by referring obliquely to Don Quixote’s encounter with a windmill (DQ 1.8). Decrying Woodhead, he writes: With this false scent my Author runs away at full cry; proves manifestly to you, that the Christian Religion is the most holy of all Religions; and after he has heated his imagination to an high pitch of zeal, concludes with a Deus tibi imperet, the Ld . rebuke thee.1 His fancy, it seem’s [sic] has made a Gyant of a Windmill, and he’s now engaging it: I shall slip away in the mean time, and when he has spent his fury, meet him at the 10th Paragraph. (p. 13)

813. Basset, Thomas, “A Catalogue” in Hugo Grotius’s Christ’s Passion. The Second Edition. G2093. UMI 598:16 At the end of Grotius’s work is found “A Catalogue of some Books, Printed for, and to be Sold by Thomas Basset, at the George in Fleet-Street.” In the catalogue, under the heading “Folio’s”: “Don Quixot, with Sculptures” (sig. H7r ). Evidently this refers to John Phillips’s translation. The term “sculpture” at the time still included the art of engraving. 814. Behn, Aphra, The Emperor of the Moon: A Farce. B1727. UMI 203:4 The fifth drama by Behn to be cited here, this work was registered, published, and performed (at the Queen’s Theatre in Dorset Court) in 1687. Based on but “much altered ” from Anne Mauduit de Fatouville’s Arlequin empereur dans le monde de la lune (which in turn had been based on an Italian source), the play is 1

“And the Lord said unto Satan, the Lord rebuke thee” (Zechariah 3:2).

1687

439

set in Naples and makes use of characters with names such as Scaramouch and Harlequin, Keeplair and Gallileus (two philosophers). In the opening scene, Scaramouch, a servant to Dr. Baliardo, observes to Elaria: You must know, Madam, your Father, (my Master, the Doctor), is a little Whimsicall, Romantick, or Don Quick-sottish, or so. (p. 4; sig. B2v )

Instead of protesting, Elaria responds: “Or rather Mad.” The cluster of adjectives given here is explored in the conversation that ensues. Referring to Elaria’s reply that her father is “mad,” Scaramouch observes: “That were uncivil to be supposed by me, but lunatick we may call him without breaking the Decorum of good Manners, for he is always travelling to the Moon.” This time Elaria adds: And [he] so Religiously believes there is a World there, that he discourses as gravely of the People, their Government, Institutions, Laws, Manners, Religion and Constitution, as if he had been bred a Machiavel there. Scar. How came he thus infected first? Ela. With reading foolish Books, Lucian’s Dialogue of the Lofty Traveller, who flew up to the Moon, and thence to Heaven; an Heroick business called, The Man in the Moon, if you’ll believe a Spaniard, who was carried thether, upon an Engine drawn by wild Geese, with another Philosophical Piece, A Discourse of the World in the Moon; with a thousand other ridiculous Volumes too hard to name.2 (p. 4)

Scaramouch then tells Elaria that Don Cinthio and Don Charmante (one a suitor to herself, the other to her cousin Bellemont) are planning to perform a farce called The World in the Moon, “Wherein your Father shall be so impos’d on, as shall bring matters most magnificently about.” All of which is reminiscent of the second part of Don Quixote wherein the knight and Sancho are subjected to planned and prolonged mockery. Another edition: B1728 (1688), p. 3 (sig. B2r ). 815. Bentley, Thomas, and Benjamin Walford, Bibliotheca illustris: sive, Catalogus variorum librorum in quâvis linguâ & facultate insignium ornatissimæ, bibliothecæ viri cujusdam prænobilis ac honoratissimi olim defuncti. A801A, B2831, and B5726. UMI 681:14 (as B5726), UMI 1143:1 (as B2831), and UMI 1734:8 (as A801a)

Books belonging to the late Robert Bruce, first Earl of Ailesbury (d. 1685), were offered for sale by auction in Ave Mary Lane, London, on 21 November 1687. Bruce had had a notable career: having succeeded as second Earl of Elgin (1663) and been created Earl of Ailesbury (1664), joint lord-lieutenant of Bedfordshire (1660), lord-lieutenant (1667), privy councillor (1678), and lord chamberlain (1685), he died in the latter year. His library, an extraordinary collection, is 2

Besides Lucian, Elaria refers here to Francis Godwin’s The Man in the Moone (1638, 1657), which has a pretended Spanish narrator, and John Wilkins’s A Discovery of a New World, or, A Discourse Tending to Prove, That ’Tis Probable There May Be Another Habitable World in the Moon (1684).

440

cervantes in seventeenth-century england

traceable in part back to William Cecil, Baron Burghley (1520–1598); it was in effect a family library. In the catalogue of his books, in a section called “Libri Hispanici in Quarto,” no. 40 is “Los Trebaios de Persilles y Segismunda, Historia Settentrional, por Mig. de Servantes [sic] Saavedra——en Madrid 1617.” (p. 60). As Gustav Ungerer has pointed out, in a section headed “English books, in Quarto,” no. 268 is “History of Don Quixotte” (n.d.).3 816. Bowman, Thomas, Catalogus librorum. C1448. UMI 933:24 In an epistle addressed “to the readers,” Bowman says it would be presumptuous of him to explain the advantages of selling books by auction, for “they are already sufficiently known to all the Curious in Learning here, and beyond Sea.” Encouraged by the success of two previous auctions, he provides the learned gentlemen of Oxford with another at his place of business on High Street. The sale was scheduled to commence at eight o’clock on the morning of 28 February 1687 and, with a two-hour break for dinner, to finish at five o’clock, “continuing dayly till all the Books are Sold.” In this catalogue under the heading “English Books in Divinity, Law, Physick, Mathematicks, History Poetry, &c. Folio,” No. 366 is “History of Don Quixot—Lond. 1675” and No. 367 is “Pleasant Notes upon Don Quixot. By Edmund Gayton—Lond. 1654” (sig. C∗ 2v ). 817. A Catalogue of Books Continued, Printed and Published at London in Trinity Term, 1687. Number 27 Under the heading “History”: The History of the most Renowned Don Quixote of Mancha, and his trusty Squire, Sancho Pancha; now made English according to the Humour of our modern Language, and adorned with several Copper-plates. By J[ohn]. P[hillips]. Folio. (Arber, Transcript of the Registers, 2:198)

818. A Catalogue of Books of the Several Libraries of the Honorable Sir William Coventry and the Honorable Mr. Henry Coventry. C6626. UMI 487:11

Sons of Thomas, first Baron Coventry, the Coventry brothers, both of whom died in 1686, both lived productive lives. Henry, the elder, accompanied Charles II during his exile, served as envoy to Sweden (1664–6) and Holland (1667), and as secretary of state (1672–9). William served as a very young man in Charles I’s army, then as M.P. from Yarmouth (1661–79) and commissioner of the navy (1662), and, as a writer, was thought to have produced “The Character of a Trimmer,” published in 1688, about two years after his death. Both brothers also built their own separate collections of books which, fairly soon after the 3

Ungerer, “The Printing of Spanish Books in Elizabethan England,” Bibliographical Society Transactions, 5th ser., 20 (1965): 223.

1687

441

death of William, were merged and listed in the present auction catalogue. The libraries of the brothers were auctioned at the residence of Henry “at the upper end of the Hay-market Peccadilly” on 9 May 1687. The catalogue was available at the shops of five booksellers: William Cooper at the Pelican in Little Britain, George Wells at the Sun in St. Paul’s Churchyard, Thomas Dring at the Harrow in Fleet Street, Samuel Carr at the Adam and Eve in the Strand, and William Nott at the Queen’s Arms in Old Pall Mall. The catalogue was also available at the Royal Coffee House, Charing Cross, at Finch’s Coffee House in Birchin Lane, and at other coffee houses in both Oxford and Cambridge. In the catalogue, under the heading “Gallici, Italici &c. in Quarto,” lot no. 138 is “Don Quixote de la Mancha por M. Cervantes——Madr. 1665” (p. 8). Under the heading “Gallici, Italici &c. in Octavo & Duodecimo,” lot no. 13 is “Don Quixot de la Manche, 2 Vol.——Rouen 1646” (p. 10); and lot no. 128 is “Histoire de Don Quixot de la Manche, 4 Vol.——Ib. [i.e., Amsterdam] 1681” (p. 12). Under the heading “Fr. Ital. Octavo, &c.,” lot No. 21 is Dom Quixote de la Manche, 2 Vol——Par. 1639” (p. 33). 819. A Catalogue of Choice Books. C1298a. UMI 2587:12 An enterprising but now anonymous bookseller held an auction in the Flesh Market4 at Newcastle-upon-Tyne on 1 August 1687. In his catalogue, under the heading “Books in Folio, on various Subjects,” lot no. 46 is “The History of Don Quixote, the valorous Knight Errant of Mancha—1687” (p. 2). Under another heading “Books in Folio, on various Subjects,” lot no. 23 is “The History of Don Quixot, the Valorous Knight Errant of Mancha—1687” (p. 21). 820. A Catalogue of Choice English Books. C1302A. UMI 2587:14 A book auction was held in London on Monday, 18 July 1687, at Wellington’s Coffee House on the backside of the Royal Exchange. In the sales catalogue, under the heading “Divinity, History, Physick, &c. in Octavo,” lot no. 24 is “Spanish Decameron, or Ten Novels – – – 1687” (p. 20). This anthology contained several novelas by Cervantes. 821. A Catalogue of the Libraries of Mr. Jer[emiah] Copping, Late of Sion College, Gent., and Anscel Beaumont, Late of the Middle Temple, Esq. C6107. UMI 60:17 This auction catalogue for the libraries of Copping and Beaumont is augmented with titles from still further (but unspecified) sources, the result being a catalogue with considerable range. All the books were “to be exposed to sale 4

Flesh Market: a flesh monger was a butcher.

442

cervantes in seventeenth-century england

by way of auction at Jonathan’s Coffee-House in Exchange-Ally in Cornhill, London on Monday the 21st day of March 1686/7.” In the catalogue, under the heading “Divinity, History, &c. in Folio,” lot no. 33 is “Gayton’s Festivous and Pleasant Notes on Don Quixot——wants Title”; lot no. 39 is “Ed. Gayton’s Pleasant Notes on Don Quixot——1654” (p. 1, sig. Aa1r ). In the second part of the catalogue, under the heading “Divinity, History, &c. in Folio,” lot no. 86, sandwiched between Hayward Townshend’s history “of the 4 last Parliaments of Q. Eliz.” (1680) and Raleigh’s history “of the whole World” (1652) is “[History] of the Valorous and Witty Knight-Errant Don Quixot of the Mancha—1652” (p. 2; sig. A1v , 2nd pagination). 822. Cervantes Saavedra, Miguel de, The History of the Most Renowned Don Quixote of Mancha; and His Trusty Squire Sancho Pancha. Now Made English According to the Humour of Our Modern Language. And Adorned with Several Copper Plates. C1774. UMI 934:9 In this extremely free and rather coarse translation of Don Quixote, John Phillips (1631–1706), John Milton’s younger nephew and sometime pupil, was indeed much concerned with “the Humour of our Modern Language” (see Fig. 24). His choice of dedicatee here—itself an indication of how far he had distanced himself from Milton—was “The Right Honourable William [Paston, the second] Earl of Yarmouth” who was serving at the time under the Roman Catholic James II as “Treasurer of His Majesties Household” (1686–9). Phillips’s epistle to Yarmouth goes thus: My Lord, The Story of Don Quixote de la Mancha, no less pleasant than gravely Moral, has been always highly Favour’d and Caress’d by Personages of most Illustrious note in all the Learned Parts of Europe; to which it has been made familiar by frequent Translations. And therefore it is, that your Lordship being equally Eminent, if not Superiour to any of them, for your Ancient Decent, and the Politeness of your Hereditary Learning and Judgment, I humbly presume to lay this Oblation at your Lordships Feet; not knowing where a Work so generally Applauded abroad, could find in English Dress a more generous and safe Protection, or my self a greater Honour then to be, My Lord, Your Lordships most Humble, And most Obedient Servant. (sig. A1r –1v )

In this edition there is something new: “Something instead of an Epistle to the Reader, By way of Dialogue”: You are come out into the World, Sir, very unmannerly, methinks. Your meaning, Sir. What, ne’re a Curteous, nor a Gentle Reader under your Girdle? Oh, Sir, that were a Romance indeed, to call Readers Courteous and Gentle in this Age. Coffee has so inspir’d Men with Contradiction and ill Nature, that Readers are as hard to be pleas’d as Lady’s in a Mercer’s Shop. Here’s nothing

1687

443

24. Title page of John Phillips’s large quarto translation called The History of the Most Renowned Don Quixote of Mancha and His Trusty Squire Sancho Pancha (1687), printed by Thomas Hodgkin and thought to be one of the first books to be sold by the novice bookman John Newton “at the three Pigeons over against the Inner-Temple Gate in Fleetstreet.” It is generously and genuinely “Adorned” with copper plates.

444

cervantes in seventeenth-century england

but Carping and Momussing5 nowadays; this is not well, and that is amiss; this might ha’ been better, and that’s stark nought: All find fault, and none will mend. Ask your Acquaintance what he thinks of such a Book?—Idle, cryes one— Insipid, cries another—The thing’s quite spoil’d, cries a third—And so the Book’s presently condemn’d with a Pfuh–and a Toss o’ the Nose. Why then, in my Opinion you venture very hard the running such a Terrible Tongue-Gauntlet. Not so neither—This Book has an Advantage above all others; ’tis a BookErrant, it has Don Quixote’s Lance and Buckler, his old Armour and the Barbers Bason, to boot, to defend itself. And therefore as it expects no other, then what befel all the Knights-Errant i’ the world, Rubs and Snubs, and Buffets and Challenges. So where it cannot get the upper hand and kill the Dragon, there it is bound by the Constitutions of its Order to suffer all Misfortunes; which tho they may be terrible to others, to a Book-Errant can be no more then Unluckie Adventures—Come, come, Sir the World’s wide, and tho your Knight-Errants were many times rudely thwackt and thumpt by the ignorant Gyants, yet they were many times more kindly entertain’d by Kings and Princes. But why Don Quixote? Had you nothing else to trouble your Brain with? Distinguish, Sir, you take it for a bare Romance; and I look upon it as a pleasant Story, to shew how vainly Youth mispend their hours in heightning their Amorous Fancies, by reading those bewitching Legends of Tom Thumb and Amadis de Gual [sic]; and Thousands more of that Nature, not worth the naming. Now Instructions are like Pills, for they meet with many humours that keck 6 at their bitterness, unless guilded over with Fable and Fancy. People are sooner ridicul’d, then rated out of an ill Habit; and the best way to represent the Deformity of any thing, is to expose it in a pleasing Mirrour. But ’tis none of my Business to preach over Don Quixote—Have yee any more to say, Sir? Not that I can think of at present. Then God buy to yee. (sig. A2r–v )

Following this little conversation is a group of poems addressed to Don Quixote, Dulcinea, Sancho Panza, and Rocinante. Amadis de Gaul to Don Quixote de la Mancha. 7 Beshrew thy Heart, Sir Knight, what has thou done? Thou has alarum’d all Elysium. What Upstart Champion’s this? quo they, whose worth Gives a new Lustre to the Fading Earth? Like soaring Rockets, or Mayor’s day Wild fire,8 That spit and crackle, and with a Bounce expire; So have I seen a Vinters Chimney layd 5 6 7

8

Momussing: fault-finding; from the Greek god Momus, who was banished for criticizing other gods (OED). Keck: retch. As part of his own preliminary matter, Cervantes ghost-wrote a number of poems relating to the book of Don Quixote. The second of these was a sonnet from Amadís de Gaula—which bears no resemblance to the poem here. Wildfire: celebratory fireworks.

1687

445

A single Brush, that such a Blaze has made More then five Faggots, Bands and all could do: Hold, Valiant Knight, and leave an Ell 9 or two Of the wide World for others to subdue. By Styx, it cost me many a broken Crown, Many years Toil, ere I could get renown: But thou, great Quixote, just as Horses run, Hast all our Wonders in a Heat out-done. To Witty Benengeli10 thanks, who wrote With the same Spirit, that his Champion fought; While our damm’d Hum-drum Dottrels, dull John Dory’s,11 But rather digg’d our Graves, then wrought our Story’s; Fuel for Satan—may they burn as long, They and their Legend, as th’ have done us wrong. (sig. A3r ) ∗ ∗ ∗

Don Belianis of Greece to Don Quixote de la Mancha.12 But for great Hector, Troy had nere been known; And when her Glory was decay’d and gone, ’Twas I to Greece restor’d her first Renown. And Mancha had been little Mancha still, But for thy Fame, that all the World does fill. And now I’me sorry, by my Troth I’me sorry. That I shou’d Gyants, Knights and Draggons worry, With so much deadly feud, to leave not one For thee, old Bully Rock,13 to piss upon. But pardon th’ Errours of a Hair-braind Sword, That nere fore-saw thy Birth upon my Word: Else I had surely left a small Recruit For thee to reap thy Valours noble Fruit. Howere I Lyons left, and Past-board Kings, And over them thy Tryumph loudly rings: The Pastboard King had not a word to say; For Why?—his Head was off, and there he lay. The Lyon ouch’d and quak’d like any Wether;14 And stunk too, for by Jove I smelt him hither. Thus thou has done enough, in doing well, While thy great Fame has reach’d the depths of Hell: 9 10 11

12 13

Ell: an English measure equal to 45 inches. Cide Hamete Benengeli, the Moorish historian created by Cervantes and credited with recording the adventures of Don Quixote. Much as Dottrels suggests a simple-minded person or bird (the plover), John Dory suggests a humanized creature of the sea (a dory is a tasty European fish). John Dory was also the simpleminded subject of a song published in 1609 and often mentioned thereafter (OED). The third poem that Cervantes provided in his preliminary material was a sonnet from Don Belianís de Grecia addressed to Don Quixote—and bears no resemblance to the poem at hand. 14 Bully Rock: a jolly comrade or boon companion (OED). Wether: a male sheep.

446

cervantes in seventeenth-century england Now then give o’re, and ere thou Feeble prove, Let Dulcinea tast the sweets of Love.

(sig. A3r )

∗∗∗

Orlando Furioso to Don Quixote de la Mancha.15 Knight of the Lyons,16 from the Place call’d Hell, Orlando Furioso greets thee well. After such Feats perform’d by Sons of Thunder, What dost thou muddling in the World, I wonder? Thou sayst, Example set thee’ [sic] at work—suppose so; But not to match Orlando Furioso: Does thy Name sound like his, Nickapooposo? Does Quixote rumble like Orlando Furioso? Hadst thou intended that the World shou’d note thee, Thy Mistress shou’d ha’ been the Fair Quihotee; And Thou Don Flustro Blustro del Toboso, Then thou hadst nick’d Orlando Furioso. But as thou nere didst chine at one smart blow,17 A Gyant cas’d in Steel, from Top to Toe; Nor carve an Armed Knight, as Carver slices A roasted Wild-duck till it drops in pieces; Thou art no Peer of mine, and I defie Both thee and all thy Genealogie. Besides, I hear th’ art one of Hamet’s Fools,18 Set up to make Knights-Errant Knaves and Fools: If so, By Jove, and all this gloomy space, Go creep to Heaven, and come not neer this Place; For if thou dost, by Proserpines19 fair Thighs, Death and the Cobler 20 meet thy Villanies. A Thousand Torments are thy endless doom, And I’le my self supply the Devils Room.

(sig. A3r–v )

∗∗∗

15 16 17 18 19 20

Eighth among the poems in Cervantes’s own prologue is a rather self-effacing sonnet to Don Quixote from Ludovico Ariosto’s Orlando Furioso. Lyons: a reminder of Don Quixote’s demand that a cage be opened so he might fight a lion or two (DQ 2.17). Chine: “To cut along or across the chine or backbone” (OED). Hamet: Cide Hamete Benengeli, the putative Muslim chronicler of Don Quixote’s experiences. Proserpine (or Proserpina), wife of Hades, was queen of the underworld. Death and the Cobbler was a ballad noted for its “humorous or satiric effects” (Simpson, British Broadside Ballad 172–6, esp. 176) and related to the old English proverb “Let the cobbler stick to his last” (last meaning “end” or “ending” as well as referring to the model of a foot on which shoes or boots were made). Enlarging the punning still further is a related poem with the line “The Cobler call’d for’s awle, death brought his Laste” (suggesting not only “all” but also “awl,” a pointed hand instrument for piercing small holes in leather). See John Ashton, Humour, Wit & Satire of the Seventeenth Century (London: Chatto and Windus, 1883), 273.

1687

447

The Knight of the Lyons21 to Don Quixote de la Mancha. Knight of the Lyons, as but fitting, To thee, the Knight o’ th’ Sun sends greeting. Great is the Noise which in the World Thy Fame has made, while toss’d and hurl’d From Post to Pillar, thou hast done Such Deeds that Story scarce dares own. Then to my self I thus did cry, Nowns22 —what a Sheepshead Knight was I To this same spark of Chivalry? But growing cool, I caught thee tripping; Poor Sancho from his Wife kidnapping, And shamelessly thy self belying, How Queens and Empress lay dying, Neglecting People, Kingdoms, Laws, And all for love of thy lean Jaws; A Tale to tell unfore-skind Jew, For I’le be hang’d if it were true. Then, wherefore, such a hideous Racket ’Bout Madam Dulcinea’s Placket?23 For after all, ’mong Poor and Rich, I nere could hear of any such. And therefore by this burning Hole, I take thee for some arrant Fool; For surely no true Errant Knight Would shadows Love, and shadows fight. Only as Thou didst Lyon dare, That Style I give thee leave to wear; So Knight o’ th’ Lyons, fare thee well, Wishing thee like my self in Hell. (sig. A3v ) ∗∗∗

The Unknown Knight to Don Quixote de la Mancha. Renowned Knight, thou mak’st me March-hare-mad, To hear thy Feats, and I among the dead; They call thee Fool—but by my death, they lye— Fools Fortune favour, thee she nere came nigh;

21

22 23

Though Phillips in the preceding poem has used “Knight of the Lyons” to refer to Don Quixote, he is obviously aware that knights-errant in the romances had previously made use of the title. As Mancing writes: “Amadís de Gaula is one of those who specifically takes the name Knight of the Lions, as do other knights in Palmerín de Olivia, Primaleón, and Belianís de Grecia” (Cervantes Encyclopedia, 1:413). Nowns: an old expression of surprise (OED); perhaps a corruption of zounds, i.e. “God’s wounds.” Placket: an opening slit at the top of the petticoat or skirt (OED); “Keep thy foot out of brothels, thy hand out of plackets” (Shakespeare, King Lear, 3.4.96–7).

448

cervantes in seventeenth-century england But suffer’d Carrier-slaves to thrash thy Bones,24 While Hunting after her, ’mong Rocks and Stones. Little they think, that lye on Beds of Down, The pains Knights-Errant take to win Renown; To Fortune, Slaves, and Vassals to their Misses; Three Gyants Heads for half a dozen Kisses. Only thy Dulcinea she’s a Pattern, Chast as the Moon, and modest as St. Kattern;25 She claim’d no Arms of Knight, nor Gyants Fate, Lest broad blew Spot should Baby’s Cheek disgrace;26 Yet thou didst both present, to roast and boyl, The welcom [sic] Fruits of thy Laborious Toil. Then, after all, if Fool thou art, farewel; I’me glad on’t, Fools fare best in Hell.

(sig. A4r )

∗∗∗

The Princess Oriana to Dulcinea del Toboso.27 Madam, the Reason why I write you this, Is to enquire your health, and hand to kiss; I hear y’ are one of us, Don Quixote’s Lady, But scandulous [sic] Tongues approbriously [sic] upbraid yee. They say, your Mother bak’t Ox Cheeks, your Father Cry’d ’em at Nine at Night, or sometimes rather: If this be true, as fleering Rumours speak all, I would not make a Kitchin-Wench my equal; For I’me a Princess born, I do assure yee, And shouldst thou be home-spun, should nere endure thee. Pray send me word how you your time do spend, When you sit down to Cards, when make an end, How coach’d abroad, how visited at home, How deep i’ th’ Mercers Books, what’s Laceman’s summ;28 Do but unfold these Anxious doubts of mine, I’le then resolve to be, or not be thine. 24

25 26

27 28

(sig. A4r )

In DQ 1.15, when Rocinante becomes too familiar with the mules of some Yanguesian carriers, the latter begin beating Rocinante. In reprisal, and despite being badly outmanned, Don Quixote and Sancho attack the Yanguesians, who in turn give both the knight and his squire a sound thrashing. St. Kattern: St. Catherine, an early virgin martyr, was noted for her chastity and said to be married to Christ. This is an obscure passage, but since these “broad blew Spots,” which are likely enough in new-born children, are specifically negative, they may be akin to “Blew-spot, or Red-spot” that the “Devil leaveth . . . upon . . . bodies” (The Lawes Against Witches [1645], 4). Oriana is the beloved of Amadís de Gaula. A poem attributed to her and addressed to Dulcinea appears in the verses Cervantes placed in the introductory matter of Don Quixote, pt. 1. Mercers Books and Laceman’s summ: a lady worthy of note will spend a lot on her attire.

1687

449

∗∗∗

Gandalin,29 Squire to Amadis de Gaul to Sancho Panca, Squire to Don Quixote. Ah! Brother Sancho, what good luck hadst thou! Thou and thy Master lov’d like Calf and Cow; He like the Cat, that hears her Kittens cry, Didst thou but bawle, to thy Relief would fly; Hadst thou a mind to talk, talk on cry’d he, And so both talk’d by Turns most lovingly; Thou hadst an Ass to ride on, at thy ease, And eke a Wallet for thy Bread and Cheese; While we with Snapsacks30 trudg’d a foot, God knows, With thousand Blisters on our founderd Toes,31 And speak a word, tho’ nere so smooth and racy, ’Twas, dam ye Dogbolt,32 who made you so sawcy? Ah—Sancho—Sancho, hadst thou flourish’d then, Or I liv’d now, we both had happy been; With Proverbs then thou hadst inspir’d my Brest; For I was not so wicked as the rest: I could not play at Cards and swear i’ th’ Hall, While Masters drank above, the Devil and all: No, I had been another Governour With ample Rule and Legislative Power, Fam’d like thy self, in every Bodies Mouth Extoll’d, proclaim’d and prais’d from North to South. But missing thee, ill fortune turn’d up Trump, I dy’d, and in oblivion lye upon my Rump. (sig. A4r–v ) ∗∗∗

A Dialogue between Rosinante and Sancho’s Ass.33 ASS. Friend Rosinante, thou lookst wondrous lean. ROS. How can I choose, that taste nor Oat nor Bean. ASS. The Horse that eats no Oats, no Oats can shite, How couldst thou carry then both Arms and Knight? ROS. My Heart was good altho’ my Flesh were low. ASS. ’Tis not the Fashion though, as times now go To serve great Men without reward. ROS. ’Tis true, But he would promise fair, tho’ deeds were few. ASS. Words feed not Horses, Asses oft they do. 29

30 32 33

Gandalín: though little noticed by the English, Gandalín does indeed provide a sonnet addressed to Sancho Panza in the preliminary verses of DQ 1. One of the more interesting things to be said of him is that he becomes lord and master of an island. 31 Snapsacks: knapsacks. Founderd Toes: lamed, said of a horse (OED). Dogbolt: contemptible fellow or mean wretch (OED). The final poem in Cervantes’s introductory matter is a sonnet recording a dialogue between Rocinante and Babieca, the legendary horse of the eleventh-century Castilian hero El Cid.

450

cervantes in seventeenth-century england ROS. Else thou hadst starv’d ere now. ASS. Good Rosinante why? ROS. Because thy master’s poor. ASS. Then let me dye, I’le rather serve him then some Lord. ROS. How so? ASS. Because the Poor themselves are Asses too, And love the Beasts that carry as they do. ROS. How might I change? it is too late I fear: ASS. Not so, if thou an Asses voice wilt hear. To England go, where Fools are rich in Purse, There give it out, thou art Don Quixote’s Horse: Thou shalt be sought and bought, and taught to vault; Then shewn at Fairs, for every one a Groat;34 Thus shalt thou live at ease, lamented dye; And Smithfield 35 Bards at last shall write thy Elegy. (sig. A4v )

At the end of the text are six additional poems: Don Quixote’ s Entertainment in th’ Elysian Shades, By the Knights of the Wandring Order. Sir Knight we’re glad y’are come, pray take a Stool; We thought t’ have warn’d yee not to play the Fool; But there’s no telling tales out of Hell’s School. Get yee a Perriwig, take our advice; Colour your Eye-brows, any strange Disguise. For Satan, mad beyond all Rhime or Reason, Swears you are guilty of Infernal Treason. What Slave is that? quo he, with looks severe, Has built so many Castles in the Air? As if with me the Caitiff meant to share My Principality——To this we said, That you were a Knight Errant, staring Mad—— Sir Knights, I thank yee, but your Soverano Mistakes his Man, my Name is Don Quixano. And with that Name I dy’d, reclaim’d and sober; Renouncing Knights of all sorts; were my Brother, Or Father of the Number; Knights o’ th’ Game, Or Dunghill Knights; for ’tis to me the same—— How’s this! Wee’ll kick thee back to Earth again; There rot among the Worms, Thou scorn of Men. But stay a while——For now we think on’t well, Thou’ art th’ only Penitent ere came to Hell.

(sig. Kkkk1r )

∗∗∗ 34 35

Groat: a silver English coin worth four pennies—and not produced after 1662. Smithfield : northwest of the city of London, Smithfield was noted for its shifty horse dealers. As Donald Lupton wrote: “he that lights upon a Horse in this place, from an olde Horse-courser, sound both in wind and limbe, may light of [i.e., on; find] an honest Wife in the Stews” (London and the Country Carbonadoed [1632], 36–7).

1687

451

Between the Knights Templers and Don Quixote. Knts . Brother Don Quixote welcom to thy Doom, By Charon’s drivell’d Beard we’ll make thee Room.36 D.Qu. Sons of Debaushry, keep your nasty Cells, I’le not lye neer such Christian Infidels. Knts . Peace, why so angry with the Brotherhood. D.Qu. No Brotherhood of Mine, by all that’s good: Dissemblers! here you lye devout in Stone; Worse then the Devil far, when Flesh and Bone. I never was so mad, tho mad enough, To fight ’gainst Heavens Decrees. Knts . As how? your proof. D.Qu. You fought for a rude heap of Stones in Passion, Which Heaven had curs’d to utter Desolation. Knts . Hermitical Devotion thought it Meet. D.Qu. Devotion’s Nonsence, without Sence or Wit. Knts . Com’st thou like Phlegeus hear [sic] to preach in Hell;37 Be quiet and lye down. D.Qu. The truth to tell, I dare not lye so neer your Stone Haubergeons,38 My Skin is soft, and I want Coin for Surgeons. Knts . Lye, and be damn’d then, under Sulphur showres; We scorn thy Company, since thou scorn’st ours. (sig. Kkkk1r ) ∗∗∗

Olivers Porter39 to Don Quixote. Keeper, keep out that Flatothraxing Knight, 40 Else here will be no peace by day nor night; He’l put me from my Praying Humour quite; No Patience I shall have, that have but little, To see that Skeleton, that Raw-bon’d Spittle. He a Knight-Errant! He a Fool, a Gudgeon,41 A Cuckow-brains, a Peagoose, a meer Widgeon.42 I know of no Knight-Errant but my Master; 36 37 38 39

40 41 42

Drivell’d : bespittled. The poet’s conceit in this poem is that Don Quixote is conversing with the stone statues of long-dead knights from the time of the crusades. Because Phlegeus set the temple of Apollo on fire, he was condemned to the lower world. Haubergeons: an habergeon is a “sleeveless coat or jacket of mail or scale armour” (OED). Oliver’s Porter is an unusual speaker insofar as he is associated with a non-fictional character. Oliver Cromwell (1599–1658), who was Lord Protector of England, Scotland, and Ireland from 1653 until his death, was later presumably (but perhaps not really) disinterred and hanged in 1661. Phillips’s words here are potentially interesting because his teacher and uncle, John Milton, served as Latin Secretary in Cromwell’s government from 1649 until 1659. Flatothraxing Knight: Flatothraxing links L. flatus (a blast, breath, or wind) with English dialect thrack (to pack full, cram), thus suggesting Don Quixote’s long-winded verbosity. Gudgeon: literally a small fish; figuratively a person easily duped. Peagoose and Widgeon: akin to “Cuckow-brains,” both of these terms refer to a dolt, fool, simpleton (OED).

452

cervantes in seventeenth-century england He was a Termagaunt,43 the World’s Lambaster. This Puppy rode a Kingdom-hunting too; What got he by’t? knocks, rubs, and thumps enow; Not earth enough to bury three Hog-Lice; My Master got Three Kingdoms in a Trice; With all the Giblets and Apurtenances; Islands I mean; Had Sancho been his Squire, He’d had a Government to his desire. Nay, might ha’ been a Major-General, His Birth consider’d, and his Parts withal. Your Amadiss’s, Palmerin’s and Beviss’s, Your Guy’s, he would have beaten into Crevisses. And I his Porter, a fit Match for thee, As if thou dar’st provoke me, thou shalt see. Go then, lye close, and o’re thy Hole I’le write Here lyes a prating talking Milk-sop Knight, That bounc’d and fluster-bluster’d all day long, And every day slew Thousands with his Tongue.

(sig. Kkkk1v )

∗∗∗

Betty Buly’s Congratulation to Madam Dulcinea. Madam, my Name is Betty Buly,44 I pity your Condition, Truly. Had you but liv’d, where I did dwell, You nere should ha’ led Apes in Hell.45 Better y’ had link’d with City Fop, Then Mistress to a Nickapoop. But Madam, pray what smell is this? ’Tis neither Musk, nor Ambergreise. Oh——now I have it for a groat, Your Ladiship has sopt your Coat In Hogwash, Madam, a shrew’d sign Your Ladiship once fed the Swine. The best could fall of bad Mishaps, To save your leading Stygian Apes; For now you’l be employ’d to keep Our Master Satan’s grunting Sheep. Oh happy you, as nere was none; 43 44

45

Termagaunt: an imaginary Muslim god, depicted in medieval mystery plays as overbearing and violent. Betty Buly: in Nathaniel Lee’s Gloriana (1676), Betty Bully is described as one of the “thund’ring Whores” who frequent the playhouse, one who will “firk you up each day to pleasure duly” (sig. K2v ). Moreover, Phillips himself in 1682 had written a conversation between Pluto and Belfagor touching “a Reverend old Matron . . . long famous for sin and iniquity, called Betty Buly” (A Pleasant Conference upon the Observator and Heraclitus [1682], 23). Belfagor observes there that Betty has provided Pluto with many a “Kid, and Barren Doe.” Apes in Hell: women who died old maids were traditionally thought to lead apes in hell (see Shakespeare’s Taming of the Shrew, 2.1.33–4).

1687 Alass my Trade is lost and gone: Here’s no man calls for lusty Cheer, For Wine or pretty Lasses here. But, Madam, you are as you were.

453

(sig. Kkkk1v -2r )

∗∗∗

The Aldermen of Gotam46 to Sancho Panca. By Gayton.47 O Do not grieve, tho great thy Loss, To lose a Lord not worth a Cross.48 We hearing of thy great Renown, Desire thee to o’re-rule our Town: You’ll find us easie to be rul’d; People that will and may be fool’d: A sort of Cockscombs cannot tell When we are ill or when we’re well: Full of Money, full of Pride, And want an Ebb to our long Tide. You need not bring your Ass with you, You shall have Asses here enow. (sig. Kkkk2r ) Caetera desunt.49 ∗∗∗

An Epitaph upon Madam Dulcinea. Here by report of every one that know so, Lyes the deceas’d Dulcinea del Toboso: A fair, ill favour’d, Highborn, Dirty Blowze, Whom Great Don Quixote chose to be his Spouse. She thrash’d in open Barn, and serv’d the Swine, But yet a Lady, Empress and a Queen. If ere you meet the Place that hides her Bum,50 Pray write this Elegy upon her Tomb. (sig. Kkkk2r )

One well might wonder whether Phillips’s dedicatee, the second earl of Yarmouth, found his book “gravely moral.”

46 47 48 49

Gotam: Gotham, traditionally known as a village of fools. This poem is borrowed from Edmund Gayton’s Pleasant Notes upon Don Quixot (1654), 190. As the final Latin phrase suggests, the closing lines of the poem are omitted (see herein 1654, Gayton). Cross: possibly a pun, since the word can refer to a coin. 50 Caetera desunt: the rest is missing. Bum: slang term for buttocks.

454

cervantes in seventeenth-century england

823. Cervantes Saavedra, Miguel de, The Spanish Decameron: or, Ten Novels. C1780, S4803A. UMI 134:10 The first five of the “novels” in this collection are translated from Cervantes’s Novelas ejemplares and titled The Rival Ladies, The Mistakes, The Generous Lover, The Libertine, and The Virgin Captive. The remaining five (The Perfidious Mistress, The Metamorphos’d Lover, The Impostour Out-Witted, The Amorous Miser, and The Pretended Alchymist) are translated from La garduña de Sevilla by Alonso de Castillo Solórzano (1584–1648?). Though the translator, R. L. (probably Roger L’Estrange), neither identifies his French source nor names Cervantes, he describes the latter as a famous author of Spain. In the preface he writes: The Age is grown so Critical, now a-days, that a Book dares not appear without a Preface, or an Epistle to it; for fear of being Censur’d, which obliges me not to be singular. As to this Decameron of Novels; they are Spanish Relations, Written by a Famous Author of that Kingdom. One of the most Refin’d Wits of France, thought it worth his Pains, to render it into the Language of his Country, with all the Graces and Advantages it might derive from either; I have done it out of the Latter, with a Freedom of Alteration, and Addition, as my Fancy led me, to make it the most divertive I could in ours, which is the only Recommendation of things of this Nature. . . .51 As to these Novels in the main, they are Concise, and carried on with much ease and freedom; whereby the Reader might be diverted, and not tir’d, and receive profitable Advice how to avoid those Dangers, and Inconveniences others have run themselves into. As to the Plots, and Contrivances of these Stories, in the Original they have been so well approv’d of, by many of our Modern, and most Ingenious Poets, insomuch, that many of their Plays have been built upon these Foundations. I have no more to satisfie the Reader in at the present, only, that the Englishing of them has been a Diversion to me, and I hope to others they will not be unpleasant. (no pagination; no signature)

Another edition: S4803B (c.1700), no pagination or signature for preface. 824. Cleveland, John, The Works of Mr. John Cleveland. C4654. UMI 1713:20

For a reference to Don Quixote’s rosary of slaves (DQ 1.22) in “Smectymnuus, or the Club-Divines,” see C4662 (1647); in this edition, the passage is found on pp. 27–8. For a reference to Don Quixote and Sancho Panza, see The Character of a Country Committee-Man, C4656 (1649); in this edition, the passage is found on pp. 73–4. For a reference to modern Quixotes tilting at a windmill (DQ 1.8), see The Character of a London Diurnall, C4659 (1644); in this edition, the passage is found on p. 86. 51

L’Estrange neglects to acknowledge here that he was significantly aided by the translations of James Mabbe (1640, 1654).

1687

455

For a reference to Don Quixote in “The Publique Faith,” sometimes attributed to Cleveland, see Richard Fletcher’s Ex otio negotium: or, Martiall His Epigrams Translated. With Sundry Poems and Fancies, M831 (1656), where it was first published; in this edition, the passage is found on p. 201. The poem was also reprinted in Alexander Brome’s Rump, B4851 (1662), q.v. Another edition: C4655 (1699), pp. 27–9, 73–4, 86, 201. 825. Clifford, Martin, Notes upon Mr. Dryden’s Poems in Four Lectures. C4706. UMI 348:5 A Trinity College, Cambridge, friend of both the Duke of Buckingham and the poet Abraham Cowley, Martin Clifford (c.1624–1677) later served as Buckingham’s secretary. In fact, it probably was with Buckingham’s help that eventually, in 1671, Clifford became master of the Charterhouse. Having made something of a reputation as a poet, he at some point between 1671 and mid-1672 composed four poems in which he accused John Dryden of plagiarism. These circulated only in manuscript form until 1687, about a decade after his death, when they were published as Notes upon Mr. Dryden’s Poems. In the passage cited here concerning a poem dated 1 July 1672, Clifford assumes that Dryden was for most of his life a reader of Don Quixote: For all this, is it not great pity to see a Man in the flower of his Romantick Conceptions, in the full vigour of his Studies on Love and Honour, to fall into such a distraction, as to walk through the Thorns and Briars of Controversie, unless his Confessor hath commanded, as a Penance for some past sins: that a Man, who hath read Don Quixot for the greatest part of his Life, should pretend to interpret the Bible, or trace the Footsteps of Tradition, even in the darkest Ages? (p. 23; sig. D2r )

826. Conyers, George, “Book List”in Robert Crowley’s Certain Prayers and Graces. C7370. UMI 275:5 At the end of this devotional manual, there is a catalogue headed “Books Printed for George Conyers, where Country Chapmen may be furnished with all sorts of Books and Ballads.” Here one finds: “Don Quixote” sandwiched between “Ball’s Catechism” and “Book of Riddles” (sig. C8r ). 827. Cooper, William, A Catalogue of the French Books of Mr. Charles Mearne, Late Bookseller to His Majesty. M1581. UMI 1312:12 Charles Mearne (1658–1686), following in the footsteps of his father and eventual partner, Samuel (1624–1683), served as royal bookbinder, bookseller, and stationer to the king, but died when still a young man. In the catalogue at hand, Cooper lists several of Charles’s French books that were for sale by auction on 26 January 1687. Among these, no. 58 is “Histoire de Don Quixot—— —[a Paris] 1681” (p. 14); no. 134 is “Histoire de Don Quixot 4 Vol.——— a Amst. 1681” (p. 15); no. 700 is “Histoire de Don Quixote 2 Vol.———a

456

cervantes in seventeenth-century england

Paris 1665” (p. 29); no. 701 is “—La mesme 4 Vol.———[a Paris] 1681” (p. 29). 828. Millington, Edward, Bibliotheca selectissima diversorum librorum. M2071a. UMI 1153:2; UMI 1486:8 On 18 April 1687, “at the Sign of the Black Swan, over against the South Door of St. Paul’s Church (amongst the Woollen-drapers),” Millington offered for sale some books collected by “a person of quality,” (92r ). Amongst “Libri Hispanici, in octavo,” No. 22 is “Novelas Exemplares de Miguel de Cervantes Saavedra——[Milan] 1615” (p. 48). 829. Millington, Edward, Catalogue of Choice Books. C1299. UMI 2587:13; UMI Early English Books: Tract Supplement: D1:1 (S.C.1035[14])

Millington conducted an auction “at Richards Coffee-House in Fleetstreet” near Temple Bar on 9 May 1687. In his catalogue, under the heading “Poetry, Plays, and Novels,” lot no. 170 is Gubligny’s “Mock Clelia, A Comical History in imitation of Don Quixot——1680” (p. 13). 830. A Reply to That Pernicious and Scandalous Libel Lately Printed in Holland in an Old Almanack for the Year 1687. R1065. UMI 2317:8 According to the rest of the title, the almanac under attack was “Written by . . . Jo. Partridge an English Renegado, Manifesting his Horrid Treasons, Wicked Blasphemies, and Most Absurd Errours in Art.” John Partridge (1644–1715), a noted astrologer of the day, was also a boldly outspoken Whig and Catholichater. At first it would appear that the outraged author of A Reply is concerned with Partridge’s Merlinus Redivivus Being an Almanack for the Year of Our Redemption (1687), published under the alias “John Wildfowl,” that claimed “a commonwealth’s the thing that kingdoms want” (sig. B4v ). It may be, however, that he is responding to Mr. John Partridge’s Wonderful Predictions, pro 1668. There, writing in the relative safety of Holland, Partridge spits out passages such as “Priest! P—on the Name, I loath the very smell; | They’re wretched things, scarce good enough for Hell” (sig. E4v ). Whatever Partridge publication offended him, the author of this forty-ninepage Reply condemns Partridge for having written . . . with a design to Traduce and Trample upon his Majesty [James II], and Government, to decry Monarchy, vent Treason, with Blasphemy, and all manner of wickedness that can be exprest in Ink and Paper. And this under the pretence of Astrology, to the great dishonour of God, and the Science of the Stars, bidding defiance to Heaven it self, with the greatest impudence and indecency of Expression, that possibly can proceed from the Pen of one in Humane shape (sig. A1v )

Eventually, in order to target what his own title has called “Errours in Art,” the respondent turns to Don Quixote. At the close of a page railing at a section of Partridge’s “Observations on November,” he concludes:

1687

457

There’s little else in November worth minding; save that the Libeller makes the Planet Mars a Don-Quixote, and sets him a Fighting by himself. (sig. B4v )

Partridge responded in 1689 with Mene Mene, Tekel Upharsin: The Second Part of Mene Tekel, P619A (UMI 2645); there he speaks of his sojourn abroad and names John Gadbury as the author of the anonymously published Reply (sig. A2v ). 831. Saint-Évremond, Charles de Marguetel de Saint Denis, SEIGNEUR DE, Mixt Essays. S308. UMI 1046:13 A French soldier, politico, and writer who eventually would be buried in Westminster Abbey, Saint-Évremond (1613?–1703) includes in this volume an essay, “On Comedies,” in which he compares Spanish comedies to French. Therein he appears to allude to Don Quixote: We are ready to acknowledge that the Wits of Madrid are more fertile than ours in Inventions. . . . It is no wonder that Regularity and Probability be less to be found among the Spaniards than the French; for since all the gallantry of the Spaniards is derived from the Moors, it retains still a certain relish of Africa, that is uncouth to other Nations, and too extraordinary to be accommodated to the exactness of Rules. Besides, an old impression of Knight-errantry, common to all Spain, sets the minds of Cavaliers upon odd and freakish adventures. The Maids also from their childhood, taste of that air in their Books of Chivalry, and in the fabulous conversations of the Women that are about them. (pp. 7–8)

Not collected in the English edition of Saint-Évremond’s Works (1700). 832. Scott, Robert, Catalogus librorum ex variis Europæ partibus advectorum apud Robertum Scott, bibliopolam regium. S2079. UMI 1611:24 (as C1438) and UMI 2019:18

Among the continental books Scott (fl. 1661–1691) offers for sale here, under the heading “Livres del Histoire,” one finds “Histoire de Don Quixote, Traduction Nouvelle 4 Vol. 12mo.” (p. 29). 833. Winstanley, William, Lives of the Most Famous English Poets. W3065. UMI 197:3 Winstanley, following Edward Phillips, says Robert Baron is remembered for five dramatic pieces which he wrote for the stage, including a now-lost play called Don Quixot, or the Knight of the Ill-favoured Countenance: a Comedy (p. 113). Bentley finds “no evidence that the play was ever printed, though one would assume that [the bookseller, Nathaniel Brooke of the Angel in Cornhill] . . . had a manuscript” (Jacobean and Caroline Stage, 5:1322–3). See Brooke’s “Books Very Lately Printed, and in the Press” (1658).

458

cervantes in seventeenth-century england

834. Winstanley, William, Poor Robin, 1687. An Almanack of the Old and New Fashion. A2206. UMI 1084:23 In “The Ass-trological Scheme” here, Sancho Panca occupies one house (sig. C6r ). His neighbors include, among others, the famous French author Rabelais and two of his famous characters, Pantagruel and Gargantua, who are somewhat oddly followed by John Scoggin (or Scogan), who may or may not have been a real person, but often has been said to be the jester of Edward IV (reigned 1461–83).

@

1688

#

835. Behn, Aphra, The Emperor of the Moon: a Farce. B1728. UMI 827:26 For a reference to a character who is “whimsical, romantick, or Don Quicksottish” partly because of books he has read, see B1727 (1687); in this edition, the passage is found on sig. B2r (p. 3). 836. A Catalogue of Books Continued, Printed and Published at London in Easter Term, 1688. Number 30 Under the heading “Reprinted”: The History of the most Renowned Don Quixote of Mancha, and his trusty Squire, Sancha Pancha; now made English according to the Humour of our modern Language, and adorned with several Copper-plates. [Translated] by J[ohn]. P[hillips]. Folio. Printed for J. Newton at the Three Pigeons in Fleet street. (Arber, Term Catalogues, 2:234)

837. A Catalogue of Latin & English Books of Divinity, History &c. C1346. UMI 1664:8

Books were offered for sale by auction on 9 January 1688 at Wellington’s Coffee House “between the Crown-Tavern and the Ship-Tavern, in Thredneedle street” (title page). In an addendum headed “Books omitted in Folio,” no. 11 is Edmund Gayton’s “Festivous Notes on Don Quixot” (sig. M2r ). 838. A Catalogue of Latin, French, and English Books. C1353. UMI 1664:9 A number of books were offered for sale by auction on 30 April 1688 at Wellington’s Coffee House. Under the heading “Divinity, History, &c. In Folio,” no. 79 is “Gaytons pleasant festivous Notes on Don Quixot——1654” (p. 17). 839. Cooper, William, Catalogi variorum in quavis lingua & facultate insignium tam antiquorum quam recentium librorum Richardi Davis bibliopolæ. Pars tertia. D428. UMI 913:22 Probably because of Davis’s previously noted “Misfortunes” (see 1686), Cooper conducted yet another auction of a portion of his fellow bookseller’s stock at Davis’s warehouse near St. Mary’s Church in Oxford beginning 25 June 1688. In the catalogue, under the heading “English Miscellanies in Folio,” no. 43 is “Gayton (Edm.) Pleasant Notes upon Don Quixot – – – 1654” (p. 73; sig. K1r ).

460

cervantes in seventeenth-century england

840. Clagett, Nicholas, An Answer to the Representer’s Reflections upon the State and View of the Controversy. C4368A. UMI 655:11 (as C4376)

This work, sometimes attributed to William Clagett, is a response to both John Gother’s A Papist Mis-represented and Represented (1685) and Joseph Johnston’s A Full Answer to the Second Defence of the Exposition of the Doctrin[e] of the Church of England (1687). In a passage about his opponent’s misconceptions, the writer seems to have in mind Don Quixote and the plain he comes upon where thirty or forty windmills are waving their arms (DQ 1.8): And so The Present state of the Controversy coming cross in his way, the Author of it seemed to him to be an Army of Giants to the wise Don, who also thought himself called upon to redress the wrongs that were done any where in the World. (p. 3)

841. Colville, Samuel, Whiggs Supplication. A Mock-Poem. C5428. UMI 1665:15

For references to Don Quixote, Sancho Panza, Rocinante, Dulcinea del Toboso, and an allusion to DQ 1.8, see C5426 (1681); in this edition, the passages are found on sig. A2r and pp. 2, 11–13. 842. Darrell, William, A Vindication of Saint Ignatius. D270. UMI 687:10

In the introduction to this Vindication, Father Darrell (1651–1721), a Jesuit, responds to Dr. Edward Stillingfleet’s comparison of St. Ignatius with Don Quixote. Stillingfleet, in his Discourse Concerning the Idolatry Practised in the Church of Rome (q.v.), had made the comparison in a discussion of Henry Wharton’s Enthusiasm of the Church of Rome (q.v.) and thus caused Darrell to write: [W]ithout any Injustice, I may change the Title Page, and christen the whole Book, The Second Edition of Dr. Stillingfleet’s Folly. But, to do him Justice, I must inform my Reader, That he hath heightned the Doctor’s Railery, as well as Impiety; and, as much as I can guess, hath spent so much Time in turning over Don Quixot, as to have left none for the Scripture. (p. 3)

And later in a passage about St. Ignatius’s reading of saints’ lives, Darrell writes: If the Lecture of Romances inflamed his Ambition, whilst he was yet a Soldier, and breath’d the Air of the World, we accuse the Lecture as well as the Effect of it: But then, too, I cannot but wonder, that such an Accusation should fall from your Mouth, who are, without doubt, guilty of the same Folly; for, if his Passion carry’d him to Amadis, yours tie you to Don Quixot; otherwise you could never have follow’d so close your Parallel. (p. 7)

In a passage about St. Ignatius’s visions, Darrell returns once again to these same themes:

1688

461

You might as well have quoted your darling Romance, Don Quixot, as Bouhours;1 and found as much to your Purpose in the One, as in the Other. (p. 18)

A few pages later Darrell adds: The Design [of your work] is great, and suitable to Don Quixot’s Bravo.

(p. 21)

843. Gother, John, The Pope’s Supremacy Asserted. G1344. UMI 1260:10 Reared a Presbyterian, Gother (d. 1704) became both a Roman Catholic divine and a prolific writer on matters religious. Here in The Pope’s Supremacy Asserted, from the Consideration of Some Protestants, he replies to a scathing criticism of his Nubes testium (1686)—which was said to have been plagiarized from Alexander Noel (1639–1724)—and in an epistle to the reader he refers to Sancho Panza: I Here venture abroad with a Reply; but it being not after the Modern Way, of calling my Adversary Madman, Fool, or Knave, I can’t tell how it may take. Nay, ’tis without all those Recommendatory Devices of Sancho Pancho, Amadis de Gaul or the Protestant Footman, and has nothing to set it out but Downright Reason, Honest Sense, and a short Consideration of the Primitive Ages of the Church. (sig. A2r )

Mockingly linked with Sancho and Amadis in this passage is “William Giles a Protestant foot-man,” who is identified thus on the title page of Giles’s own Defence of Dr. Sherlock’s Preservative Against Popery, in Reply to a Jesuit’s Answer (1688). One of numerous volumes devoted to Catholic–Protestant wrangling in the latter 1680s, Giles’s Defence lauds William Sherlock, later Dean of St. Paul’s, and attacks Lewis Sabran, the Jesuit with the “answer.” Sabran was a royal chaplain under James II, chaplain of the Prince of Wales, and author, among many other things, of A Second Letter to Mr. William Needham, in Answer to [Giles’s] The Defence of the Preservative Against Popery: Written by Dr. Sherlock’s Second, a Protestant Footman (1688). 844. Langbaine, Gerard, Momus triumphans: or, The Plagiaries of the English Stage Exposed in a Catalogue. L377. UMI 962:49 Langbaine writes that Robert Davenport’s City Night-Cap takes its “Plot from Don Quixot’s Novel, of the Curious Impertinent, and Boccaces Novels, Day the 7th, Novel 7th” (p. 5); that Beaumont and Fletcher’s Love’s Pilgrimage (actually probably by Fletcher with some aid from Beaumont) takes part of its plot from Jonson’s New Inn and part of it “from Exemplary Novels, Two Damsels” (p. 8); that Rowley and Middleton’s Spanish Gypsy takes its “Plot, [from] Cervantes’s Exemplary Novels, Folio. Force of Blood” (p. 16), though that play is now sometimes credited also to Thomas Dekker and John Ford; and that Shirley’s 1

Dominique Bouhour (1628–1702), biographer of St. Ignatius. Written originally in French, his work was translated to English in 1686 as The Life of St. Ignatius (B3826).

462

cervantes in seventeenth-century england

Gentleman of Venice takes its “Plot, Part from Gayton’s Notes on Don Quixot, Book 4th, Chap. 6th” (p. 22). For the most part, Langbaine is arguably on target. He is wrong, however, in tracing Gentlemen of Venice (1624) to Gayton’s Notes on Don Quixot (1654), and he might have added that Spanish Gypsy is indebted also to La gitanilla, another of Cervantes’s Novelas ejemplares. Complexity and uncertainty, however, abound. Jonathan Bate, a scholar of our own time, writes that “The Spanish Gypsy seems to be a revision by John Ford of an earlier script by Middleton and Rowley with input by Dekker somewhere along the way.”2 Another edition in 1688: L377A (UMI 2407:6), same pagination. Also found in Langbaine’s New Catalogue of English Plays: L377B (1688), pp. 5, 8,16, 22. 845. Lessey, Thomas, “A Satyr, in Answer to the Satyr against Man” in Poetical Recreations. B770. UMI 52:3 This work is in three parts: the first is by Mrs. Jane Barker, the second by several gentlemen of the universities, and in “Miscellanea: or, The Second Part of Poetical Recreations,” there is “A Satyr, in Answer to the Satyr against Man.” Obviously the writer, Thomas Lessey (1650–1724) of Wadham College, Oxford, is responding to “A Satyr Against Mankind” (1679), one of the best-known poems of John Wilmot, Earl of Rochester (1647–1680). In railing here against the rowdy, drunken behavior of young sparks, Lessey refers to Don Quixote’s attack on a windmill (DQ 1.8): From all th’ Atchievements of Romantick Knights, Their bold Encounters and heroick Fights; One only Parallel to this is brought, When furious Don the Gyant Windmill fought. Oh that this Age some Homer wou’d afford! Who might these deeds in deathless Verse record. (p. 76, 2nd pagination; sig. Ff6v )

846. Magalhães, Gabriel de, A New History of China. Done out of French. M247. UMI 154:12 The Doze excelências da China by the Portuguese Jesuit Magalhães (1609–1677) came to England via a French intermediary and was printed in London for Thomas Newborough. Now called A New History of China, it had a fifth chapter titled “Of the Wit of the Chineses [sic] and Their Principal Books” (p. 87), wherein Don Quixote was placed in company that might have surprised Cervantes. Immediately after noting that the “Chineses” have books on mathematics, military discipline, and “Physick” (the latter including “several solid and learned discourses upon the Pulse, or beating of Arteries”), the text observes: 2

Bate, “Thomas Middleton,” Times Literary Supplement 5485, 16 May, 2008, p. 6.

1688

463

[They also] have several Pleasant Romances and Books of Chivalrie, like those of Amadis de Gaul, Orlando Furioso, D. Quixote, &c. (p. 89)

847. Millington, Edward, Bibliotheca Massoviana: sive, Catalogus variorum librorum. M1029. UMI 1446:15 The irrepressible Millington began to auction Monsieur Massauve’s library on 1 February 1688 in London at the Sign of the Black Swan. Massauve, “sometime Counsellor of Parliament at Montpellier, a Person generally fam’d for his great Wit, and extraordinary Knowledg [sic] in most parts of Polite Learning,” had accumulated a large collection of books, forty-five of which were in Spanish. In the catalogue, under the heading “Libri Hispanici in Octavo, 12. &c.,” Millington lists Cervantes’s pastoral romance: [Number] 16 De la Galatea por Miguel Cervantes——en Valad [olid]. 1610. (p. 56)

Cervantes’s Galatea, his first book (1585), is a pastoral romance that was little known in England but well received abroad. It is mentioned during the survey of Don Quixote’s library (DQ 1.6) and, at the request of the barber, spared from burning. 848. Millington, Edward, Bibliotheca selectissima diversum librorum. L606. UMI 1486:8 John Maitland (1616–1682), second Earl and first Duke of Lauderdale, was one of the Scots who supported the Solemn League and Covenant (1643) and tried to persuade Charles I to accept Presbyterianism. Thereafter, for the rest of his life, he worked ceaselessly “to keep Scottish affairs in Scottish hands” (see Ronald Hutton, Oxford DNB, 12:804–11). Though he was well known as “a bold and unabashed liar,” and though he managed to become also “the rival in debauchery . . . of the most licentious of . . . courtiers” at the court of Charles II (he was actually lodged in Whitehall), Lauderdale is also said to have been well read in both divinity and foreign languages. The auction catalogue at hand—which marks the first of several involved in dispersing Lauderdale�