O Engenhoso Fidalgo D. Quixote de la Mancha - Primeira Parte (Portuguese Edition)

O Engenhoso Fidalgo Dom Quixote de la Mancha é um livro dividido em duas partes. See all formats and editions Hide other formats and editions Escrito por Miguel de Cervantes, tendo o primeiro volume publicado em e o A obra narra as aventuras de Dom quixote, um pseudo-herói, que parte pelo mundo.
Table of contents

File:Dom Quixote de la Mancha T3 Page 011.jpg

Copyright Office before January 1, This tag is designed for use where there may be a need to assert that any enhancements eg brightness, contrast, colour-matching, sharpening are in themselves insufficiently creative to generate a new copyright. It can be used where it is unknown whether any enhancements have been made, as well as when the enhancements are clear but insufficient. For usage, see Commons: When to use the PD-scan tag. From Wikimedia Commons, the free media repository. File File history File usage on Commons Size of this preview: Author Miguel de Cervantes Saavedra.

This image is in the public domain because it is a mere mechanical scan or photocopy of a public domain original, or — from the available evidence — is so similar to such a scan or photocopy that no copyright protection can be expected to arise. The original itself is in the public domain for the following reason: Public domain Public domain false false This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus years or less.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. Retrieved from " https: Don Quixote is the basis for this study. The concept of diversity of voices can be understood as the plurality of voices and, since Bakhtin carries out his studies from discourse in the novel, it is important to remember that these voices are initially from specific speaking persons in the novel: These Bakhtinian propositions would be, then, situated in the literary scope.


  1. File usage on Commons!
  2. File:Dom Quixote de la Mancha T2 Page 281.jpg?
  3. Silas Marner: The Weaver of Raveloe (Penguin Classics).
  4. The Guardian.
  5. File:Dom Quixote de la Mancha T2 Page jpg - Wikimedia Commons?
  6. File history;

Nevertheless, it is important to point out that some of Bakhtin's reflections use the literary prose as an object of analysis in order to develop concepts. That is the reason why the origin of these concepts should be considered when making their transposition to other spheres of communication, to texts which do not always present elements of the novel. In Don Quixote , for instance, there are complex dialogic relationships between the voices of authors, narrators and characters, constituting a singular diversity of voices, which contributes to the heterodiscursivity of the novel.

We should start with the issue of authorship, which, for many reasons, is truly complex.

O Engenhoso Fidalgo Dom Quixote de La Mancha - Miguel de Cervantes

Vieira, , although there is no agreement regarding this subject. This issue is relevant for our discussion because the reference to this apocryphal Quixote will be present in the voices of Don Quixote, Sancho and other characters in the Second Part. Therefore, a reality created by a different author person and creator appears in the discourse of Cervantes's characters. Somehow, there is certain displacement of the hierarchical and exotopic relationship most common to the novel, inasmuch as the external author becomes objectified by the characters' voices.

This is suis generis , since, according to Bakhtin , 6 it is the discourse of the characters that is generally the object of the author's discourse. In general, the voices of the characters are a creation of the author; these voices are his "object. Therefore, the object in Cervantes's novel is the voices of others.

There are, then, dialogic relationships between Cervantes's text and the apocryphal text; however, it is not only a simple external reference, but a movement in which one dialogues with the other. For the characters' voices of the apocryphal author-creator to enter Cervantes's novel architectonics, these voices need to go through some instances: Thus, they are not a simple reference to the previous book.

Cervantes chooses the voices of the apocryphal novel that will enter his novel. These voices, by their turn, are conjugated in Cervantes's novel architectonics under the auspices of a primary author-creator that, through secondary authors, narrators and characters, gives place, in a refracted way, to the voices that are external to the apocryphal novel. This is an aspect of heterodiscourse, inasmuch as there are dialogic relationships between voices of different discourse instances: In addition, in this case, through these discourse instances, utterances from different subjects - Cervantes and the apocryphal author - are conjugated.

Besides these external dialogic relationships, 8 it is possible to notice, exclusively in the world of Cervantes's creations, several dialogic relationships between the voices of author, narrator, and characters. An issue that should be observed is the plurality of authors.


  • Design, Technology and the Development Process in the Built Environment (Built Environment Series of;
  • !
  • File:Dom Quixote de la Mancha T3 Page jpg - Wikimedia Commons;
  • ;
  • A Project Managers Guide to Passing the Project Management (PMP) Exam;

    • From a Bakhtinian perspective, any work has two fundamental authors: This person, when willing to produce an aesthetic work, needs to use cognitive knowledge and ethical values in a discourse project that, once it is finished, will allow others to see an author-creator in his unique, singular aesthetic creation, "a constituent in a work" BAKHTIN, , p. This author-creator is an element of the work and only of that work.

    The author-person may, certainly, continue to write, for instance, and create many other works. Each one has its own architectural organization, put together under the perspective of an exclusive author-creator. Miguel de Cervantes is the author-person, but to the analysis of Don Quixote , what matters the most is to understand the author-creator, a discourse instance under which the novel architectonics is organized.

    As author-person, Cervantes could write other works, but Don Quixote 's unit is signatory of an author-creator who is exclusive of this work. Through this author-creator there is the constitution of a novel in which, maybe in a baroque style and certainly to develop a parodic project, two secondary "authors" of Don Quixote 's story are presented. The first author would be Cide Hamete Benengeli. The story narrated by Benengeli, however, would not be his creation, but his narration of stories compiled in La Mancha. The story of this first author more of a compiler than a writer is written in "Arabic [ This is told by the "second author," the Christian author who is called as such due to his opposition to the Moor, the Arab author , who re tells the story of Don Quixote from Benengeli's translation.

    There is, therefore, two secondary "authorial" instances until the final text of Don Quixote: This makes the translation process even more complex. It is relevant to notice that the Christian author is not restricted to the sole translation of the Arabic text, but makes interventions in the text, retelling it. Sometimes, usually at the beginning or at the end of the chapters, the Christian author makes references to his process of retelling the Moor's story:. They say that in the actual original of this history, one reads that when Cide Hamete came to write this chapter, his interpreter did not translate what he had written, which was a kind of complaint that the Moor had concerning himself for becoming involved in a history as dry and limited as this one [ But let us leave Sancho and his rage, dear reader, with no argument or quarrel, and return to Don Quixote, whom we left with his face bandaged and treated for his feline wounds, which did not heal for eight days, and on one of them something happened that Cide Hamete promises to recount as exactly and truthfully as all things in this history are recounted, no matter how trivial they may be end of chapter XLVII CERVANTES, [], p.

    It is noticeable that there are instances or layers to be considered in what regards the supposed author. The Arab's writing is then translated. However, this translation is not the same text of Don Quixote. This text is the result of another author's action, a Christian author who, based on the translated story, presents Don Quixote's story, modifying the translation.

    There are, then, three instances: It is interesting to point out that the narration is a result of a complex discursive play through which the text to which the reader has access is refracted due to these three instances. Moreover, when talking about this diffuse authorship, it is important to make clear that none of these two authors corresponds to the author-creator, who should be understood as someone who unifies and supports Cervantes's discourse project in this exclusive work, the unifying element of the work's architectonics. The Moor, the Christian and the translator, whose art of translation always presupposes creative work, are secondary authors, since "are all measured and defined by their relationship to the author as person as to a special subject of depiction , [ Moreover, it is important to emphasize that Benengeli's and the translator's voices only appear, even if directly cited, when refracted by the Christian narrator's voice.

    The voice of the latter, thus, is extremely important, since it refracts Benengeli's and the translator's previous narration. It also refracts and arranges the voices of the characters: Quixote, Sancho Panza, and all the others. When addressing the arrangement of the characters' voices in the narrative, we should note some aspects.

    In a certain point of the narrative, Don Quixote is in an inn that he believes to be a castle. He imagines he is hugging his beloved Dulcineia of Toboso, but he is actually hugging one of workers of the place. I wish only to say that heaven, envious of the good that Fortune had placed in my hands, or perhaps, and this is more likely, the castle, as I have said, being enchanted, as I was engaged in sweet and amorous conversation with her, without my seeing or knowing whence it came, a hand attached to the arm of some monstrous giant came down and struck me so hard a blow on the jaws that they were bathed in blood, and then beat me so badly that I feel worse than I did yesterday when the Yanguesans, because of Rocinante's audacity, committed the offense against us which you already know.

    File:Dom Quixote de la Mancha T1 Page jpg - Wikimedia Commons

    In Don Quixote's words, the inflictor of his wounds is an "enchanted Moor. In short, when Don Quixote discovered that he was bound and the ladies had vanished, he began to imagine that all this was the result of enchantment, as it had been the last time when in that very castle an enchanted Moor of a muledriver had given him a severe beating; to himself he cursed his lack of intelligence and good sense, for after having been hurt so badly in that castle, he had dared enter it a second time [ The narrator, thus, integrates Don Quixote's voice into his own voice, refracting it.

    More than that, he changes its direction, since what was a serious matter when spoken by the character is ironically tinged by the narrator. We could say that it is a double-voiced discourse with a diverse orientation in which the "discourse becomes an arena of battle between two voices" with "a semantic intention that is directly opposed" BAKHTIN, , p.

    Somehow this refraction of the character's voice in the narrator's voice may be close to the "provoking discourse," which Bakhtin envisions in some of Dostoyevsky's works BAKHTIN, Differently from that which occurs in Don Quixote, however, in Dostoyevsky it seems that the narrator engages in a dialogue with the character, as if the latter could hear the former. Therefore, the irony that recovers the voice is perceived by the character and not only by the reader, as it happens in Cervantes. In any case, this mutual orientation between the voices of the narrator and characters is already present in Cervantes.

    Possibly its development in Dostoyevsky would show what, according to Bakhtin, would be the evolution of elements of the prose in the novel genre. Summarizing what was discussed previously, one of the characteristics of heterodiscourse is this complexity of the dialogic relationships between the voices of a one I and an-other hetero , the discourse of one and the discourse s of other s.

    In the case of the novelistic prose, the dialogic relationships do not oppose only an author-person to other external discourses: We should emphasize again that the dialogic relationships do not take place between texts, but between subjects that give movement to them. In novelistic prose, however, it is crucial to consider that heterodiscourse, the discourse of the other, enters the novel according to the discourse project of the specific author-creator. In this work, the voices of others may be found in different narrative instances in the discourse of the narrators and characters.

    In the novel sphere, the voice of the narrator is alien to the voices of the characters, and their voices are alien, too; they are other voices. Therefore, one of the characteristics of heterodiscourse is the myriad of dialogic relationships that are stablished between the voices proper to the novel, i. There are many possible definitions of what style is, all of which are certainly the object of a controversy.

    In any case, Bakhtin's definition of style is the one we have adopted in this article. A conception of style based on the reflections of the Circle must consider two aspects: We understand that although style is proper to each author, it is never indifferent to the discourse genre through which the utterance is materialized.

    The author's lexical and phraseological choices adjust to the discourse genre. This is why Bakhtin says that there is no style without genre and no genre without style: However, genre and style should not be confused, since there are other characteristics that comprise discourse genre, such as compositional structure and theme, in addition to style. This discussion was raised because one of the characteristics of the heterodiscourse pointed out by Bakhtin is the dialogue between styles. In Don Quixote a plurality of styles can be found: Examples of the style of chivalrous novels, parodied in Don Quixote, are found in the titles of the chapters.

    An example is the title of chapter XX of the First Part: In this title, a series of linguistic choices motivate the presence of a chivalrous style: There are many other examples of passages in which the "chivalrous style" can be found.

    Services on Demand

    However, what we intend here, more than bringing many examples, is to show how evident they are. And this happens because, even without a literary analysis or a linguistic explanation, this style may sound strange to readers, when compared to their everyday language. They can probably recognize the presence of a chivalrous style through these linguistic choices.


    1. Fearless Resumes: The Proven Method for Getting a Great Job Fast (Business Skills and Development).
    2. Considerations on Heterodiscourse from Don Quixote;
    3. Jugendjahre (German Edition);
    4. File:Dom Quixote de la Mancha T1 Page 013.jpg?
    5. Seeking Shadows: Forsaken.

    This style, by the way, does not appear only in the narrator's voice, but in the voice of Don Quixote, who, sometimes, intends to speak similarly to what he believes the characters of the novels he had read would speak. This way of speaking intends to simulate a chivalrous language, without observing that this is a literary style and that it is a usual feature of a specific kind of literary writing; therefore, its use sounds odd when spoken in a communicative situation.

    Don Quixote, however, does not always speak this way. The use of this kind of language is related to his belief that this is the way a person should speak to a lady. When talking to other characters, he does not use archaic language, although he always presents certain amount of erudition when speaking. We notice it in the following excerpt, in a dialogue with Sancho Panza:. What do you fear, coward? Why do you weep, spineless Creature? Who is pursuing you, who is hounding you, heart of a mouse, and what do you lack, beggar in the midst of plenty?

    Are you perhaps walking barefoot through the mountains of the Rif, or are you sitting on a bench like an archduke and sailing the tranquil current of this pleasant river, from which we shall shortly emerge onto a calm sea? In the work we find i the parodic chivalrous style of the narrator, which is sometimes adopted by Don Quixote, ii the educated speech of this character and other characters, and iii the voices that would represent a more popular way of speaking.