Reading the European Novel to 1900 by Daniel R. Schwarz

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By Daniel R. Schwarz

• bargains a detailed examining of person texts with recognition to their cultural and canonical context
• Examines the heritage and evolution of the unconventional to 1900 and defines each one author’s aesthetic, cultural, political, and ancient significance
• Covers crucial and often taught masterworks as much as 1900, together with Cervantes’ Don Quixote; Tolstoy’s War and Peace and Anna Karenina; Dostoevsky’s Notes from Underground, Crime and Punishment, and The Brothers Karamazov; Stendhal’s The pink and the Black and The Charterhouse of Parma; Flaubert’s Madame Bovary and Sentimental Education; Balzac’s Pere Goriot; and  Zola’s Germinal
• Written with scholars and lecturers in brain, this e-book offers obtainable and interesting discussions of every novel, besides vital pedagogical instruments

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Additional resources for Reading the European Novel to 1900

Example text

27 Cervantes’ Don Quixote Don Quixote is an elegy for a world that never was, but it alludes to a world where the conventions of knighthood and traditions of chivalry did have considerable standing. By the time Cervantes wrote, gunpowder and artillery as well as the modern nation-state had emerged to render the conventions and traditions of knighthood and feudalism obsolete. Machiavelli had written The Prince (1532) and Ariosto had written Orlando Furioso (complete version, 1532), and Cervantes was very much aware that the ideals of chivalry and the cult of virginity – what C.

Don Quixote is satirized as a wellmeaning figure who has become so immersed in tales of knights and chivalry that his imagination verges on madness. Before deciding he will became a man of action in the form of a chivalric knight, he is single, middle-aged, and sedentary. His real quest is not for money but for fame and self-fulfillment, but what the quest brings him, finally, is self-knowledge. Thinking of himself as a chosen one and a member of an elect group because he is a knight errant, he is at times also an arrogant elitist and a snob.

I want to discuss Don Quixote from both a formalist and humanist perspective, thinking about what Cervantes contributes to the novel form, including his relationship with readers, and thinking of Don Quixote as a human drama. As a humanist I will be concerned with the values and psyches of Don Quixote and Sancho Panza, even while realizing that there is an element of the uncanny in Cervantes’ characters and that their behavior challenges and defies rational description if we are looking for the consistent and intelligible behavior patterns of the nineteenth-century novel of Flaubert or Dickens.

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