Thomas D'Urfey y la recepción del Quijote en el siglo XVII inglés

Author: Ardila, J A G

Source: Hispanic Research Journal, Volume 10, Number 2, April 2009 , pp. 91-107(17)

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Abstract:

Scholars have concurred in noting that there were three stages in the reception and understanding of Don Quixote (especially in England): Cervantes's novel was first read as a comic satire and its main character was seen as a fool; it was afterwards read as a parody and the knight was seen as a somewhat noble character; and, finally, Don Quixote was regarded as the epitome of the highest moral values. The first stage spans approximately up until 1700; the second stage from 1700 to 1755; and the third stage from 1755 onwards. This paper demonstrates that, contrary to the judgements of previous scholars, the image of Don Quixote in Thomas D'Urfey's play The Comical History of Quixote (1694, 1696) is not simply preposterous and grotesque; rather, in D'Urfey's adaptation Don Quixote is both comic and noble, whereas Sancho becomes the real fool. As a result of D'Urfey's presentation of the knight as a noble and sane character, this paper concludes that the aforementioned stages in the reception of Don Quixote are permeable rather than exclusive.

Spanish
Los estudios en torno a la recepción del Quijote, y en especial aquellos que se han ocupado del caso de Inglaterra, han coincidido en distinguir tres etapas: una primera en que se percibe la novela de Cervantes como una comedia satírica y a su protagonista como un bufón; una segunda en que se reconoce al Quijote una intención paródica y al caballero ciertos rasgos de nobleza; y una tercera en que se considera a don Quijote un adalid de los más altos valores morales. Aproximadamente, la primera etapa se extiende hasta 1700; la segunda de 1700 a 1755, y la tercera se agudiza durante la época del Romanticismo. En este artículo se demuestra que la imagen de don Quijote en la adaptación teatral titulada The Comical History of Quixote (1694, 1696) de Thomas D'Urfey no es, como ha apuntado la crítica, exclusivamente ridícula y grotesca, sino que en esta obra se le presenta como un personaje cómico a la vez que noble, que es Sancho el verdadero histrión ridículo. En virtud de esta representación (parcial) de un don Quijote noble y cuerdo, se concluye que las etapas en la recepción del Quijote no son excluyentes, sino permeables.

Keywords: GAYTON; D'URFEY; ENGLISH THEATRE; CERVANTES; DON QUIXOTE

Language: Unknown

Document Type: Research Article

DOI: http://dx.doi.org/10.1179/174582009X410144

Publication date: 2009-04-01

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