SMILES AND LAUGHTER IN DON QUIXOTE
John J. Allen
William Faulkner used to read Don Quixote every year; Carlos Fuentes rereads it every spring.It was Don Quixote that led Sigmund Freud to teach himself Spanish so that he could read it in the original. In the judgment of writers of fiction working today, Don Quixote is the greatest single work of fiction ever produced.
At a time when literary theorists are reminding us how different our individual versions of any text are, when the history of interpretation and, in fact, the text of Don Quixote itself demonstrates exactly that point, must we not wonder why this book is universally admired and how it still provokes
smiles and laughter throughout the world? Don Quixote is one of the great masterpieces of linguistic nuance, and much of the bookrsquo;s original humor depends upon untranslatable ambiguities and stylistic mixes and clashes, yet the book has been known to most of its admirers only in translation, where much of this richness simply disappears.
The problems raised by the humor in Don Quixote have intrigued me throughout the forty years that I have read, taught, and lived with Cervantesrsquo;s masterpiece, since long before todayrsquo;s preeminence of textual relativity. The two volumes of Don Quixote: Hero or Fool? that I wrote a generation or two ago constituted an attempt to understand and account for the varying and often mutually exclusive interpretations of this novel, an effort to explain how the book generates such a diversity of reactions among its readers. I did not take up in that study the question of the universal appeal of Cervantesrsquo;s humor, but I did argue then that Cervantes carefully presented situations that might well have elicited compassion or sympathy in a way that legitimized the readersrsquo; good-natured laughter. What follows is, in this sense, an extension of my previous investigation.
What interests me is not why Don Quixote was funny when it was writ-ten, when Peter Russell and Anthony Close and Dan Eisenberg tell us it was a “funny book,” but why it is still humorous today, given the perishability of humor, its intimate relationship with the readerrsquo;s basic value system, and its apparent cultural specificity. Clearly no one now cares about the books of chivalry that Don Quixote spoofs. What does the question of a particular “interpretive community” mean, we might ask Stanley Fish, when the appeal of this book covers all nations across four centuries? Why is the book not limited by Joseacute; Antonio Maravallrsquo;s variable “mentalidades,” Michel Foucaultrsquo;s “discursive formations” and social “disciplining,” or Anthony Closersquo;s historically conditioned “collective comic mentality or mind-set”? If, as Laura Gorfkle has asserted, “humor is . . . insightful. It is an epistemology,” then Cervantesrsquo;s universal appeal must depend upon an epistemology widely shared. The fact that we all love Don Quixote seems much more important to me than the fact that we all talk about it differently. It seems to me that we need to appreciate and contemplate this sort of phenomenon more these days, perhaps, than ever before.
This inquiry is not some scholarly quibble, then. It is an attempt to explore and perhaps understand a bit this bookrsquo;s broad appeal to something fundamental in our common humanity, something that transcends national, cultural, and chronological boundaries, an appeal that gives the lie to some currently fashionable theories of textual indeterminacy and cultural relativity.
It is refreshing, I think, to recognize at the outset that some people are fundamentally wrong about Don Quixote. When Paul Julian Smith quotes approvingly another criticrsquo;s claim that “there may come a time when the Criticoacute;n is valued as highly as the Quixote,” because “the modern bias to-ward photographic realism is as conventional as the seventeenth centuryrsquo;s mistrust of what it takes to be a purely superficial depiction of the world,” they are both simply wrong, wrong in the prediction and wrong in the assumption that photographic realism is the basis for the universal esteem in which Cervantesrsquo;s masterpiece is held. All of us are surely wrong about the book at some point or other (I know that I am often wrong), but not, I hope, quite that wrong.
Irsquo;d like to look first at the kind of humor that is closer to the surface, more immediately accessible, and therefore easier to talk about and agree on.
Then I will get into subtler forms (passages that more often elicit smiles than laughter) that involve understanding, identification, and forgiveness rather than ridicule.
The appeal of one fundamental aspect of the humor of Don Quixote is easy enough to understand: the slapstick humor of which chapter 16 of Part I is the epitome, the hilarious sequence of confused, fumbling encounters in the darkened attic room of Juan Palomequersquo;s inn that begin when Don Quixote grabs Maritornes as she passes him on the way to her tryst with the muleteer. Devoid, or nearly so, of the linguistic nuance susceptible to loss in translation and heavily dependent upon nonverbal activity, full of identities mistaken and kicks and punches given and received, Don Quixote has a broad and obvious appeal that spans cultures and centuries. Gonzalo spoke a few years ago of “el Quijote muerto de risa.” He read a sequence from Part I, chapter 16—“a passage,” he said, “that still continues to be hilarious.” Here is the passage:
Maritornes estaba congojadiacute;sima y trasudando de verse tan asida de don Quijote, y, sin entender ni estar atenta a las razones que le deciacute;a, procuraba, sin hablar palabra, desasirse. El bueno del harriero, a quien teniacute;an despierto sus malos deseos, desde el punto que entroacute; su coima por la puerta, la sintioacute;, estuvo atentamente escuchando todo lo que don Quijote deciacute;a, y, celoso de que la asturiana le hubiese faltado la palabra por otro, se fue llegando maacute;s al lecho de don
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《堂吉诃德》的微笑和嘲笑
John J. Allen
当年，威廉·福克纳每年都会阅读《堂吉诃德》；卡洛斯·富恩特也是每年春天都会重新拾起《堂吉诃德》。而毋庸置疑，正是这本书使弗洛伊德自学了西班牙语，以便他能够以此书的源生语言来阅读。在今天的小说评论中，《堂吉诃德》仍旧是最伟大的作品。
事实上，当翻译的历史和《堂吉诃德》本身的文本都精确的证明一点，而这点也正是文学评论家们告诉我们的，即任何版本的《堂吉诃德》都有其不同之处。那么此书获得普遍的赞赏的时候，我们就会好奇此书为什么会在全世界引起不同的笑声。毫无疑问，《堂吉诃德》是语言差异的伟大杰作之一，书中许多源生的幽默都取决于不可翻译的细微差别和行文风格的混合冲突，但是这本书仍然被世界各地的崇拜者所熟知，并且只是在翻译本的状态下。
在我与塞万提斯的杰作息息生活的四十多年以来，有关《堂吉诃德》幽默的问题引起了我的兴趣。两卷的《堂吉诃德：英雄还是傻瓜？》是我为了试图去理解和解释《堂吉诃德》如何产生在读者之间产生一种如此不同的反映而所作的努力。我没有在这项研究中探讨塞万提斯幽默的普遍吸引力的问题，但是我确实认为，塞万提斯认真地提出了可能会引起同情的情况，这种情况可能会使读者发出善良和自然的笑声。接下来，是在这个意义上扩展我之上的调查。
使我感到极大兴趣的，并不是当彼得·罗素和安东尼·埃尔斯和丹·艾森伯格告诉我们这是一本“有趣的书”时，好奇为什么《堂吉诃德》在写作时是带着趣味性的，而是为什么这本书在今天仍然能够引人发笑。实际上，在今天已经没有人去关心《堂吉诃德》是否是一部骑士小说。按照一个特定的“翻译社团”的说法，我们可能会问斯丹雷·弗丝，当这本在四个世纪都吸引了全世界的时候，为什么并没有受到一些该有的限制。当然，如果有的话，就会被辩驳，像劳拉·戈尔福克一直以来所坚持的那样：“幽默hellip;hellip;是有深度的。这是一种认识论。”因此，塞万提斯被普遍吸引的这种情况必须在这种认识论被广泛接受下才有可能。对于我来说，我们都热爱《堂吉诃德》这本书的事实似乎比我们谈论《堂吉诃德》每个版本的不同之处的事实更加重要。而在我看来，我们现在比以往任何时候都更需要欣赏和考虑这种现象。
这个问题并不是一些所谓学术上的嘲讽。这是试图探索，也许可以理解这本书对我们共同人性的一些根本性的广泛吸引力，一些超越了国籍、文化、甚至是种族的吸引力。
我想，这是令人耳目一新的认识，认识到一些人对于《堂吉诃德》的根本性错误。当保罗·朱利安·史密斯（Paul Julian Smith）引用另一位评论家的话声明：“一个文艺批评会和《堂吉诃德》一样受到重视的时代可能会到来。” 因为“带有现代偏见的照相式客观现实主义与十七世纪纯粹肤浅的描绘客观世界的不可信一样，都是传统的东西。”但是，他们都错了，错在他们的预测，也错在他们的推断。因为照相式客观的现实主义手法是塞万提斯被普遍得到尊重与崇拜的基础。其实，我们所有的人都会在这本书犯上一些这样那样的错误，这其中也包括我。但是，我希望至少不要像是上面的这种错误。
我想首先就表层的那种幽默开始探讨，这种幽默更容易亲近，因而更加容易谈论。接着我将以更加深入的形式，即文本中常常引起笑声的段落，予以探讨。其中更多的包括理解与谅解，而不是嘲笑。
《堂吉诃德》幽默的基本吸引力是是很容易理解的：在小说中第十六章第一节的闹剧式幽默就是一个小缩影。对于语言差异的逃避会使翻译行为的损失受到影响并且强烈的取决于非语言行为，即充满了行为性的错误，使《堂吉诃德》有一种广泛的吸引力，并且跨越了文化与世纪。贡萨洛曾在几年前说过“堂吉诃德笑死了”。他多次阅读了第十六章第一节并认为“那仍然是闹剧的”。下段为上述所说的文本：
Maritornes estaba congojadiacute;sima y trasudando de verse tan asida de don Quijote, y, sin entender ni estar atenta a las razones que le deciacute;a, procuraba, sin hablar palabra, desasirse. El bueno del harriero, a quien teniacute;an despierto sus malos deseos, desde el punto que entroacute; su coima por la puerta, la sintioacute;, estuvo atentamente escuchando todo lo que don Quijote deciacute;a, y, celoso de que la asturiana le hubiese faltado la palabra por otro, se fue llegando maacute;s al lecho de don Quijote, y estuacute;vose quedo hasta ver en queacute; paraban aquellas razones que eacute;l no podiacute;a entender. Pero como vio que la moza forcejaba por desasirse y don Quijote trabajaba por tenella, parecieacute;ndole mal la burla, enarboloacute; el brazo en alto y descargoacute; tan terrible puntilde;ada sobre las estrechas quijadas del enamorado caballero que le bantilde;oacute; la boca en sangre; y no contento con esto, se le subioacute; encima de las costillas y con los pies maacute;s que de trote se las paseoacute; todas de cabo a rabo.
El lecho, que era un poco endeble y de no firmes fundamentos, no pudiendo sufrir la antilde;adidura del harriero, dio consigo en el suelo, a cuyo gran ruido despertoacute; el ventero; y luego imaginoacute; que debiacute;an ser pendencias de Maritornes, porque, habieacute;ndola llamado a voces, no respondiacute;a. Con esta sospecha se levantoacute; y, encendiendo un candil, se fue hacia donde habiacute;a sentido la pelaza. La moza, viendo que su amo veniacute;a y que era de condicioacute;n terrible, toda medrosica y alborotada se acogioacute; a la cama de Sancho Panza, que auacute;n dormiacute;a, y alliacute; se acorrucoacute; y se hizo un ovillo. El ventero entroacute; diciendo: “iquest;Adoacute;nde estaacute;s, puta? A buen seguro que son tus cosas eacute;stas.”
[玛丽托内斯给堂吉诃德紧紧抱住，焦躁万分，身上直冒汗。她听不懂人家对她说的话，也没心思听，只闷声不响地挣扎着想脱身。骡夫那家伙正满腔邪念，睡不着觉。他的情妇一进门他就知觉了；堂吉诃德讲的话他句句都留心听着，以为阿斯杜利亚姑娘为了别人对他失信了，不免侵着一缸醋。他挨近堂吉诃德的床边，站定了瞧他那套怪话怎么收场。可是他一见那丫头挣扎着想脱身，堂吉诃德却竭力拉住不放，觉得这样捣乱太不像话，就举臂下死劲一掌打在这位多情骑士的瘦脸上，打得他满口鲜血。他还不心足，竟跳到堂吉诃德的身上，用跑马步伐，从他第一根肋骨踩到最后一根。
那张床本来不太结实，又不平稳，经不起再添上一个骡夫的重量，轰隆一声倒下去。店主给这一声闹醒。他高声喊玛丽托内斯，没有听到回答，就料定是她闹得乱子；心上这么猜想，忙起来点了一盏油灯寻声找去。那丫头瞧脾气暴躁的主人来了，吓得慌了手脚，直往桑丘bull;潘沙的床上躲；桑丘睡得正熟，她就钻进他的被窝，蜷缩成一团。客店主一面进屋来，一面嚷道：“婊子！你在哪里？准是你闹事儿！”]
当桑丘醒来，这场闹剧还在戏剧着，并且与玛丽托内斯互相殴打着。毫无疑问，现在人们无论重读这段多少次，总会微微一笑。但是尽管如此，正如迪亚斯·米戈约所说，“hoy el Quijote no hace reiacute;r o muy poco. En gran parte se le ha muerto la risa”[今天《堂吉诃德》已经不太能使人们大笑，笑声正在消亡]。他还说，十六章第一节的插曲是一次少有的例外，并且我也认为我们这种因闹剧幽默而发出的笑声正在随着时间流逝。但是，塞万提斯的幽默感更为深刻，这里涉及到这一点，还有许多不涉及闹剧的其他事例。
迪亚兹·米戈约的阅读证明了他的观点，即笑声的省略，笑声会演变为其他重要的反应，包括优越的反应、宽慰的反应、宽慰的反应、这些都是笑声的传统解释。关于我们会在这一幕中感到愉快，他解释道，这的确与上述的情绪有关，但不应被理解为比角色更优越，也不应被理解为因不是角色或者不像角色那样而感到宽慰，更不该被理解为看到角色受到惩罚或者奖励而感到满足。
我不会像迪亚斯·米戈约一样快地驳回这些考虑。 我知道他的意思。 他指的是那种“道德化”的框架，也就是我的书《堂吉诃德：英雄还是傻瓜？》。 似乎有些人强加于工作上，比起在“塞万提斯”中发现的“保守派”的“含糊不清”的幽默更为原始。换句话说，笑声的自发性排除了任何这种计算或道德记录。 也许如果我在这些很久以前的研究中做得更清楚一些，那么我可以预防那种反对意见，因为我在这里提出的论文至关重要，所以现在我必须更清楚。
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