Don Quixote: From Renaissance Optimism to Baroque Disillusionment

The Shift from Renaissance to Baroque

Don Quixote embodies the transition from the optimism of the Renaissance to the disillusionment of the Baroque. In the first part of the novel, he is optimistic. However, in the second part, following experiences like the Cave of Montesinos and facing disappointment, he becomes more pessimistic, ultimately repudiating his chivalric ideals.

The Baroque Era: A Time of Disenchantment

The Baroque period reflects a sense of disappointment following the Renaissance's optimism.

Structure and Narrative

The novel's structure is accumulative (adventure + adventure). However, due to its length, there's a shift in the first part: Don Quixote initially journeys alone, but later travels with Sancho Panza, enriching the narrative through their dialogue.

The introduction of other characters leads to separate narratives within the main story, such as the pastoral interludes.

The Structure of Adventures

Adventures arise from the clash between Don Quixote's perception of reality and the actual circumstances. This creates an expectation in the reader, which is sometimes fulfilled, sometimes subverted.

In the second part, the adventures often become elaborate tricks orchestrated by the Dukes and other characters.

Purpose and Symmetry

The stated purpose of the novel is to satirize romances of chivalry. Don Quixote seeks to embody artistic ideals in his behavior. The book exhibits symmetry, particularly between Sierra Morena and the Cave of Montesinos.

• In Sierra Morena, Don Quixote repents and performs his first voluntary act of literary imitation, doing penance of his own volition.
• In the Cave of Montesinos, the opposite occurs. He is asleep and unaware, his experience a dream.

The imitation in Sierra Morena is active and conscious, while in Montesinos, it is unconscious. Sierra Morena represents an ascent, while Montesinos signifies a decline into disappointment.

Mannerism and Decline

Don Quixote's imitation is mannerist, reflecting a transitional aesthetic where artists capture the best of the previous era.

As Don Quixote's mental state deteriorates, so do his ideals. On his deathbed, he renounces his identity as Don Quixote, signifying the ultimate failure of his chivalric aspirations. The presence of the squire, Sancho Panza, significantly enriches the narrative.

In the first part, Don Quixote suffers physical blows, but his ideals remain intact. In the second part, he endures moral defeats that reveal the absurdity of chivalry, though he tries to maintain the illusion.

Mannerism represents a transitional stage in aesthetics during times of change, where some artists grasp the best elements of the preceding period.