The Project Gutenberg eBook of The History of Don Quixote, Volume 1, Part 05

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The History of Don Quixote, Volume 1, Part 05

Author: Miguel de Cervantes Saavedra

Illustrator: Gustave Doré

Translator: John Ormsby

Release date: June 1, 2004 [eBook #5907]

Most recently updated: December 29, 2020

Language: English

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF DON QUIXOTE, VOLUME 1, PART 05 ***

DON QUIXOTE

by Miguel de Cervantes

Translated by John Ormsby

Volume I.,  Part 5.

Chapters 14-15

Ebook Editor's Note

The book cover and spine above and the images which follow were not part of the original Ormsby translation—they are taken from the 1880 edition of J. W. Clark, illustrated by Gustave Dore. Clark in his edition states that, "The English text of 'Don Quixote' adopted in this edition is that of Jarvis, with occasional corrections from Motteaux." See in the introduction below John Ormsby's critique of both the Jarvis and Motteaux translations. It has been elected in the present Project Gutenberg edition to attach the famous engravings of Gustave Dore to the Ormsby translation instead of the Jarvis/Motteaux. The detail of many of the Dore engravings can be fully appreciated only by utilizing the "Enlarge" button to expand them to their original dimensions. Ormsby in his Preface has criticized the fanciful nature of Dore's illustrations; others feel these woodcuts and steel engravings well match Quixote's dreams.            D.W.

CONTENTS

CHAPTER XIVWHEREIN ARE INSERTED THE DESPAIRING VERSES OF THE DEAD

SHEPHERD, TOGETHER WITH OTHER INCIDENTS NOT LOOKED FOR

CHAPTER XVIN WHICH IS RELATED THE UNFORTUNATE ADVENTURE THAT

DON QUIXOTE FELL IN WITH WHEN HE FELL OUT WITH CERTAIN

HEARTLESS YANGUESANS

CHAPTER XIV.

WHEREIN ARE INSERTED THE DESPAIRING VERSES OF THE DEAD SHEPHERD, TOGETHER WITH OTHER INCIDENTS NOT LOOKED FOR

THE LAY OF CHRYSOSTOM

Since thou dost in thy cruelty desire

The ruthless rigour of thy tyranny

From tongue to tongue, from land to land proclaimed,

The very Hell will I constrain to lend

This stricken breast of mine deep notes of woe

To serve my need of fitting utterance.

And as I strive to body forth the tale

Of all I suffer, all that thou hast done,

Forth shall the dread voice roll, and bear along

Shreds from my vitals torn for greater pain.

Then listen, not to dulcet harmony,

But to a discord wrung by mad despair

Out of this bosom's depths of bitterness,

To ease my heart and plant a sting in thine.

The lion's roar, the fierce wolf's savage howl,

The horrid hissing of the scaly snake,

The awesome cries of monsters yet unnamed,

The crow's ill-boding croak, the hollow moan

Of wild winds wrestling with the restless sea,

The wrathful bellow of the vanquished bull,

The plaintive sobbing of the widowed dove,

The envied owl's sad note, the wail of woe

That rises from the dreary choir of Hell,

Commingled in one sound, confusing sense,

Let all these come to aid my soul's complaint,

For pain like mine demands new modes of song.

No echoes of that discord shall be heard

Where Father Tagus rolls, or on the banks

Of olive-bordered Betis; to the rocks

Or in deep caverns shall my plaint be told,

And by a lifeless tongue in living words;

Or in dark valleys or on lonely shores,

Where neither foot of man nor sunbeam falls;

Or in among the poison-breathing swarms

Of monsters nourished by the sluggish Nile.

For, though it be to solitudes remote

The hoarse vague echoes of my sorrows sound

Thy matchless cruelty, my dismal fate

Shall carry them to all the spacious world.

Disdain hath power to kill, and patience dies

Slain by suspicion, be it false or true;

And deadly is the force of jealousy;

Long absence makes of life a dreary void;

No hope of happiness can give repose

To him that ever fears to be forgot;

And death, inevitable, waits in hall.

But I, by some strange miracle, live on

A prey to absence, jealousy, disdain;

Racked by suspicion as by certainty;

Forgotten, left to feed my flame alone.

And while I suffer thus, there comes no ray

Of hope to gladden me athwart the gloom;

Nor do I look for it in my despair;

But rather clinging to a cureless woe,

All hope do I abjure for evermore.

Can there be hope where fear is? Were it well,

When far more certain are the grounds of fear?

Ought I to shut mine eyes to jealousy,

If through a thousand heart-wounds it appears?

Who would not give free access to distrust,

Seeing disdain unveiled, and—bitter change!—

All his suspicions turned to certainties,

And the fair truth transformed into a lie?

Oh, thou fierce tyrant of the realms of love,

Oh, Jealousy! put chains upon these hands,

And bind me with thy strongest cord, Disdain.

But, woe is me! triumphant over all,

My sufferings drown the memory of you.

And now I die, and since there is no hope

Of happiness for me in life or death,

Still to my fantasy I'll fondly cling.

I'll say that he is wise who loveth well,

And that the soul most free is that most bound

In thraldom to the ancient tyrant Love.

I'll say that she who is mine enemy

In that fair body hath as fair a mind,

And that her coldness is but my desert,

And that by virtue of the pain he sends

Love rules his kingdom with a gentle sway.

Thus, self-deluding, and in bondage sore,

And wearing out the wretched shred of life

To which I am reduced by her disdain,

I'll give this soul and body to the winds,

All hopeless of a crown of bliss in store.

Thou whose injustice hath supplied the cause

That makes me quit the weary life I loathe,

As by this wounded bosom thou canst see

How willingly thy victim I become,

Let not my death, if haply worth a tear,

Cloud the clear heaven that dwells in thy bright eyes;

I would not have thee expiate in aught

The crime of having made my heart thy prey;

But rather let thy laughter gaily ring

And prove my death to be thy festival.

Fool that I am to bid thee! well I know

Thy glory gains by my untimely end.

And now it is the time; from Hell's abyss

Come thirsting Tantalus, come Sisyphus

Heaving the cruel stone, come Tityus

With vulture, and with wheel Ixion come,

And come the sisters of the ceaseless toil;

And all into this breast transfer their pains,

And (if such tribute to despair be due)

Chant in their deepest tones a doleful dirge

Over a corse unworthy of a shroud.

Let the three-headed guardian of the gate,

And all the monstrous progeny of hell,

The doleful concert join: a lover dead

Methinks can have no fitter obsequies.

Lay of despair, grieve not when thou art gone

Forth from this sorrowing heart: my misery

Brings fortune to the cause that gave thee birth;

Then banish sadness even in the tomb.

The "Lay of Chrysostom" met with the approbation of the listeners, though the reader said it did not seem to him to agree with what he had heard of Marcela's reserve and propriety, for Chrysostom complained in it of jealousy, suspicion, and absence, all to the prejudice of the good name and fame of Marcela; to which Ambrosio replied as one who knew well his friend's most secret thoughts, "Senor, to remove that doubt I should tell you that when the unhappy man wrote this lay he was away from Marcela, from whom he had voluntarily separated himself, to try if absence would act with him as it is wont; and as everything distresses and every fear haunts the banished lover, so imaginary jealousies and suspicions, dreaded as if they were true, tormented Chrysostom; and thus the truth of what report declares of the virtue of Marcela remains unshaken, and with her envy itself should not and cannot find any fault save that of being cruel, somewhat haughty, and very scornful."

"That is true," said Vivaldo; and as he was about to read another paper of those he had preserved from the fire, he was stopped by a marvellous vision (for such it seemed) that unexpectedly presented itself to their eyes; for on the summit of the rock where they were digging the grave there appeared the shepherdess Marcela, so beautiful that her beauty exceeded its reputation. Those who had never till then beheld her gazed upon her in wonder and silence, and those who were accustomed to see her were not less amazed than those who had never seen her before. But the instant Ambrosio saw her he addressed her, with manifest indignation:

"Art thou come, by chance, cruel basilisk of these mountains, to see if in thy presence blood will flow from the wounds of this wretched being thy cruelty has robbed of life; or is it to exult over the cruel work of thy humours that thou art come; or like another pitiless Nero to look down from that height upon the ruin of his Rome in embers; or in thy arrogance to trample on this ill-fated corpse, as the ungrateful daughter trampled on her father Tarquin's? Tell us quickly for what thou art come, or what it is thou wouldst have, for, as I know the thoughts of Chrysostom never failed to obey thee in life, I will make all these who call themselves his friends obey thee, though he be dead."

"I come not, Ambrosia for any of the purposes thou hast named," replied Marcela, "but to defend myself and to prove how unreasonable are all those who blame me for their sorrow and for Chrysostom's death; and therefore I ask all of you that are here to give me your attention, for will not take much time or many words to bring the truth home to persons of sense. Heaven has made me, so you say, beautiful, and so much so that in spite of yourselves my beauty leads you to love me; and for the love you show me you say, and even urge, that I am bound to love you. By that natural understanding which God has given me I know that everything beautiful attracts love, but I cannot see how, by reason of being loved, that which is loved for its beauty is bound to love that which loves it; besides, it may happen that the lover of that which is beautiful may be ugly, and ugliness being detestable, it is very absurd to say, "I love thee because thou art beautiful, thou must love me though I be ugly." But supposing the beauty equal on both sides, it does not follow that the inclinations must be therefore alike, for it is not every beauty that excites love, some but pleasing the eye without winning the affection; and if every sort of beauty excited love and won the heart, the will would wander vaguely to and fro unable to make choice of any; for as there is an infinity of beautiful objects there must be an infinity of inclinations, and true love, I have heard it said, is indivisible, and must be voluntary and not compelled. If this be so, as I believe it to be, why do you desire me to bend my will by force, for no other reason but that you say you love me? Nay—tell me—had Heaven made me ugly, as it has made me beautiful, could I with justice complain of you for not loving me? Moreover, you must remember that the beauty I possess was no choice of mine, for, be it what it may, Heaven of its bounty gave it me without my asking or choosing it; and as the viper, though it kills with it, does not deserve to be blamed for the poison it carries, as it is a gift of nature, neither do I deserve reproach for being beautiful; for beauty in a modest woman is like fire at a distance or a sharp sword; the one does not burn, the other does not cut, those who do not come too near. Honour and virtue are the ornaments of the mind, without which the body, though it be so, has no right to pass for beautiful; but if modesty is one of the virtues that specially lend a grace and charm to mind and body, why should she who is loved for her beauty part with it to gratify one who for his pleasure alone strives with all his might and energy to rob her of it? I was born free, and that I might live in freedom I chose the solitude of the fields; in the trees of the mountains I find society, the clear waters of the brooks are my mirrors, and to the trees and waters I make known my thoughts and charms. I am a fire afar off, a sword laid aside. Those whom I have inspired with love by letting them see me, I have by words undeceived, and if their longings live on hope—and I have given none to Chrysostom or to any other—it cannot justly be said that the death of any is my doing, for it was rather his own obstinacy than my cruelty that killed him; and if it be made a charge against me that his wishes were honourable, and that therefore I was bound to yield to them, I answer that when on this very spot where now his grave is made he declared to me his purity of purpose, I told him that mine was to live in perpetual solitude, and that the earth alone should enjoy the fruits of my retirement and the spoils of my beauty; and if, after this open avowal, he chose to persist against hope and steer against the wind, what wonder is it that he should sink in the depths of his infatuation? If I had encouraged him, I should be false; if I had gratified him, I should have acted against my own better resolution and purpose. He was persistent in spite of warning, he despaired without being hated. Bethink you now if it be reasonable that his suffering should be laid to my charge. Let him who has been deceived complain, let him give way to despair whose encouraged hopes have proved vain, let him flatter himself whom I shall entice, let him boast whom I shall receive; but let not him call me cruel or homicide to whom I make no promise, upon whom I practise no deception, whom I neither entice nor receive. It has not been so far the will of Heaven that I should love by fate, and to expect me to love by choice is idle. Let this general declaration serve for each of my suitors on his own account, and let it be understood from this time forth that if anyone dies for me it is not of jealousy or misery he dies, for she who loves no one can give no cause for jealousy to any, and candour is not to be confounded with scorn. Let him who calls me wild beast and basilisk, leave me alone as something noxious and evil; let him who calls me ungrateful, withhold his service; who calls me wayward, seek not my acquaintance; who calls me cruel, pursue me not; for this wild beast, this basilisk, this ungrateful, cruel, wayward being has no kind of desire to seek, serve, know, or follow them. If Chrysostom's impatience and violent passion killed him, why should my modest behaviour and circumspection be blamed? If I preserve my purity in the society of the trees, why should he who would have me preserve it among men, seek to rob me of it? I have, as you know, wealth of my own, and I covet not that of others; my taste is for freedom, and I have no relish for constraint; I neither love nor hate anyone; I do not deceive this one or court that, or trifle with one or play with another. The modest converse of the shepherd girls of these hamlets and the care of my goats are my recreations; my desires are bounded by these mountains, and if they ever wander hence it is to contemplate the beauty of the heavens, steps by which the soul travels to its primeval abode."

With these words, and not waiting to hear a reply, she turned and passed into the thickest part of a wood that was hard by, leaving all who were there lost in admiration as much of her good sense as of her beauty. Some—those wounded by the irresistible shafts launched by her bright eyes—made as though they would follow her, heedless of the frank declaration they had heard; seeing which, and deeming this a fitting occasion for the exercise of his chivalry in aid of distressed damsels, Don Quixote, laying his hand on the hilt of his sword, exclaimed in a loud and distinct voice:

"Let no one, whatever his rank or condition, dare to follow the beautiful Marcela, under pain of incurring my fierce indignation. She has shown by clear and satisfactory arguments that little or no fault is to be found with her for the death of Chrysostom, and also how far she is from yielding to the wishes of any of her lovers, for which reason, instead of being followed and persecuted, she should in justice be honoured and esteemed by all the good people of the world, for she shows that she is the only woman in it that holds to such a virtuous resolution."

Whether it was because of the threats of Don Quixote, or because Ambrosio told them to fulfil their duty to their good friend, none of the shepherds moved or stirred from the spot until, having finished the grave and burned Chrysostom's papers, they laid his body in it, not without many tears from those who stood by. They closed the grave with a heavy stone until a slab was ready which Ambrosio said he meant to have prepared, with an epitaph which was to be to this effect:

Beneath the stone before your eyes

The body of a lover lies;

In life he was a shepherd swain,

In death a victim to disdain.

Ungrateful, cruel, coy, and fair,

Was she that drove him to despair,

And Love hath made her his ally

For spreading wide his tyranny.

They then strewed upon the grave a profusion of flowers and branches, and all expressing their condolence with his friend ambrosio, took their Vivaldo and his companion did the same; and Don Quixote bade farewell to his hosts and to the travellers, who pressed him to come with them to Seville, as being such a convenient place for finding adventures, for they presented themselves in every street and round every corner oftener than anywhere else. Don Quixote thanked them for their advice and for the disposition they showed to do him a favour, and said that for the present he would not, and must not go to Seville until he had cleared all these mountains of highwaymen and robbers, of whom report said they were full. Seeing his good intention, the travellers were unwilling to press him further, and once more bidding him farewell, they left him and pursued their journey, in the course of which they did not fail to discuss the story of Marcela and Chrysostom as well as the madness of Don Quixote. He, on his part, resolved to go in quest of the shepherdess Marcela, and make offer to her of all the service he could render her; but things did not fall out with him as he expected, according to what is related in the course of this veracious history, of which the Second Part ends here.

CHAPTER XV.

IN WHICH IS RELATED THE UNFORTUNATE ADVENTURE THAT DON QUIXOTE FELL IN WITH WHEN HE FELL OUT WITH CERTAIN HEARTLESS YANGUESANS

The sage Cide Hamete Benengeli relates that as soon as Don Quixote took leave of his hosts and all who had been present at the burial of Chrysostom, he and his squire passed into the same wood which they had seen the shepherdess Marcela enter, and after having wandered for more than two hours in all directions in search of her without finding her, they came to a halt in a glade covered with tender grass, beside which ran a pleasant cool stream that invited and compelled them to pass there the hours of the noontide heat, which by this time was beginning to come on oppressively. Don Quixote and Sancho dismounted, and turning Rocinante and the ass loose to feed on the grass that was there in abundance, they ransacked the alforjas, and without any ceremony very peacefully and sociably master and man made their repast on what they found in them.

Sancho had not thought it worth while to hobble Rocinante, feeling sure, from what he knew of his staidness and freedom from incontinence, that all the mares in the Cordova pastures would not lead him into an impropriety. Chance, however, and the devil, who is not always asleep, so ordained it that feeding in this valley there was a drove of Galician ponies belonging to certain Yanguesan carriers, whose way it is to take their midday rest with their teams in places and spots where grass and water abound; and that where Don Quixote chanced to be suited the Yanguesans' purpose very well. It so happened, then, that Rocinante took a fancy to disport himself with their ladyships the ponies, and abandoning his usual gait and demeanour as he scented them, he, without asking leave of his master, got up a briskish little trot and hastened to make known his wishes to them; they, however, it seemed, preferred their pasture to him, and received him with their heels and teeth to such effect that they soon broke his girths and left him naked without a saddle to cover him; but what must have been worse to him was that the carriers, seeing the violence he was offering to their mares, came running up armed with stakes, and so belaboured him that they brought him sorely battered to the ground.

By this time Don Quixote and Sancho, who had witnessed the drubbing of Rocinante, came up panting, and said Don Quixote to Sancho:

"So far as I can see, friend Sancho, these are not knights but base folk of low birth: I mention it because thou canst lawfully aid me in taking due vengeance for the insult offered to Rocinante before our eyes."

"What the devil vengeance can we take," answered Sancho, "if they are more than twenty, and we no more than two, or, indeed, perhaps not more than one and a half?"

"I count for a hundred," replied Don Quixote, and without more words he drew his sword and attacked the Yanguesans and excited and impelled by the example of his master, Sancho did the same; and to begin with, Don Quixote delivered a slash at one of them that laid open the leather jerkin he wore, together with a great portion of his shoulder. The Yanguesans, seeing themselves assaulted by only two men while they were so many, betook themselves to their stakes, and driving the two into the middle they began to lay on with great zeal and energy; in fact, at the second blow they brought Sancho to the ground, and Don Quixote fared the same way, all his skill and high mettle availing him nothing, and fate willed it that he should fall at the feet of Rocinante, who had not yet risen; whereby it may be seen how furiously stakes can pound in angry boorish hands.

Then, seeing the mischief they had done, the Yanguesans with all the haste they could loaded their team and pursued their journey, leaving the two adventurers a sorry sight and in sorrier mood.

Sancho was the first to come to, and finding himself close to his master he called to him in a weak and doleful voice, "Senor Don Quixote, ah, Senor Don Quixote!"

"What wouldst thou, brother Sancho?" answered Don Quixote in the same feeble suffering tone as Sancho.

"I would like, if it were possible," answered Sancho Panza, "your worship to give me a couple of sups of that potion of the fiery Blas, if it be that you have any to hand there; perhaps it will serve for broken bones as well as for wounds."

"If I only had it here, wretch that I am, what more should we want?" said Don Quixote; "but I swear to thee, Sancho Panza, on the faith of a knight-errant, ere two days are over, unless fortune orders otherwise, I mean to have it in my possession, or my hand will have lost its cunning."

"But in how many does your worship think we shall have the use of our feet?" answered Sancho Panza.

"For myself I must say I cannot guess how many," said the battered knight Don Quixote; "but I take all the blame upon myself, for I had no business to put hand to sword against men who where not dubbed knights like myself, and so I believe that in punishment for having transgressed the laws of chivalry the God of battles has permitted this chastisement to be administered to me; for which reason, brother Sancho, it is well thou shouldst receive a hint on the matter which I am now about to mention to thee, for it is of much importance to the welfare of both of us. It is at when thou shalt see rabble of this sort offering us insult thou art not to wait till I draw sword against them, for I shall not do so at all; but do thou draw sword and chastise them to thy heart's content, and if any knights come to their aid and defence I will take care to defend thee and assail them with all my might; and thou hast already seen by a thousand signs and proofs what the might of this strong arm of mine is equal to"—so uplifted had the poor gentleman become through the victory over the stout Biscayan.

But Sancho did not so fully approve of his master's admonition as to let it pass without saying in reply, "Senor, I am a man of peace, meek and quiet, and I can put up with any affront because I have a wife and children to support and bring up; so let it be likewise a hint to your worship, as it cannot be a mandate, that on no account will I draw sword either against clown or against knight, and that here before God I forgive the insults that have been offered me, whether they have been, are, or shall be offered me by high or low, rich or poor, noble or commoner, not excepting any rank or condition whatsoever."

To all which his master said in reply, "I wish I had breath enough to speak somewhat easily, and that the pain I feel on this side would abate so as to let me explain to thee, Panza, the mistake thou makest. Come now, sinner, suppose the wind of fortune, hitherto so adverse, should turn in our favour, filling the sails of our desires so that safely and without impediment we put into port in some one of those islands I have promised thee, how would it be with thee if on winning it I made thee lord of it? Why, thou wilt make it well-nigh impossible through not being a knight nor having any desire to be one, nor possessing the courage nor the will to avenge insults or defend thy lordship; for thou must know that in newly conquered kingdoms and provinces the minds of the inhabitants are never so quiet nor so well disposed to the new lord that there is no fear of their making some move to change matters once more, and try, as they say, what chance may do for them; so it is essential that the new possessor should have good sense to enable him to govern, and valour to attack and defend himself, whatever may befall him."

"In what has now befallen us," answered Sancho, "I'd have been well pleased to have that good sense and that valour your worship speaks of, but I swear on the faith of a poor man I am more fit for plasters than for arguments. See if your worship can get up, and let us help Rocinante, though he does not deserve it, for he was the main cause of all this thrashing. I never thought it of Rocinante, for I took him to be a virtuous person and as quiet as myself. After all, they say right that it takes a long time to come to know people, and that there is nothing sure in this life. Who would have said that, after such mighty slashes as your worship gave that unlucky knight-errant, there was coming, travelling post and at the very heels of them, such a great storm of sticks as has fallen upon our shoulders?"

"And yet thine, Sancho," replied Don Quixote, "ought to be used to such squalls; but mine, reared in soft cloth and fine linen, it is plain they must feel more keenly the pain of this mishap, and if it were not that I imagine—why do I say imagine?—know of a certainty that all these annoyances are very necessary accompaniments of the calling of arms, I would lay me down here to die of pure vexation."

To this the squire replied, "Senor, as these mishaps are what one reaps of chivalry, tell me if they happen very often, or if they have their own fixed times for coming to pass; because it seems to me that after two harvests we shall be no good for the third, unless God in his infinite mercy helps us."

"Know, friend Sancho," answered Don Quixote, "that the life of knights-errant is subject to a thousand dangers and reverses, and neither more nor less is it within immediate possibility for knights-errant to become kings and emperors, as experience has shown in the case of many different knights with whose histories I am thoroughly acquainted; and I could tell thee now, if the pain would let me, of some who simply by might of arm have risen to the high stations I have mentioned; and those same, both before and after, experienced divers misfortunes and miseries; for the valiant Amadis of Gaul found himself in the power of his mortal enemy Arcalaus the magician, who, it is positively asserted, holding him captive, gave him more than two hundred lashes with the reins of his horse while tied to one of the pillars of a court; and moreover there is a certain recondite author of no small authority who says that the Knight of Phoebus, being caught in a certain pitfall, which opened under his feet in a certain castle, on falling found himself bound hand and foot in a deep pit underground, where they administered to him one of those things they call clysters, of sand and snow-water, that well-nigh finished him; and if he had not been succoured in that sore extremity by a sage, a great friend of his, it would have gone very hard with the poor knight; so I may well suffer in company with such worthy folk, for greater were the indignities which they had to suffer than those which we suffer. For I would have thee know, Sancho, that wounds caused by any instruments which happen by chance to be in hand inflict no indignity, and this is laid down in the law of the duel in express words: if, for instance, the cobbler strikes another with the last which he has in his hand, though it be in fact a piece of wood, it cannot be said for that reason that he whom he struck with it has been cudgelled. I say this lest thou shouldst imagine that because we have been drubbed in this affray we have therefore suffered any indignity; for the arms those men carried, with which they pounded us, were nothing more than their stakes, and not one of them, so far as I remember, carried rapier, sword, or dagger."

"They gave me no time to see that much," answered Sancho, "for hardly had I laid hand on my tizona when they signed the cross on my shoulders with their sticks in such style that they took the sight out of my eyes and the strength out of my feet, stretching me where I now lie, and where thinking of whether all those stake-strokes were an indignity or not gives me no uneasiness, which the pain of the blows does, for they will remain as deeply impressed on my memory as on my shoulders."

"For all that let me tell thee, brother Panza," said Don Quixote, "that there is no recollection which time does not put an end to, and no pain which death does not remove."

"And what greater misfortune can there be," replied Panza, "than the one that waits for time to put an end to it and death to remove it? If our mishap were one of those that are cured with a couple of plasters, it would not be so bad; but I am beginning to think that all the plasters in a hospital almost won't be enough to put us right."

"No more of that: pluck strength out of weakness, Sancho, as I mean to do," returned Don Quixote, "and let us see how Rocinante is, for it seems to me that not the least share of this mishap has fallen to the lot of the poor beast."

"There is nothing wonderful in that," replied Sancho, "since he is a knight-errant too; what I wonder at is that my beast should have come off scot-free where we come out scotched."

"Fortune always leaves a door open in adversity in order to bring relief to it," said Don Quixote; "I say so because this little beast may now supply the want of Rocinante, carrying me hence to some castle where I may be cured of my wounds. And moreover I shall not hold it any dishonour to be so mounted, for I remember having read how the good old Silenus, the tutor and instructor of the gay god of laughter, when he entered the city of the hundred gates, went very contentedly mounted on a handsome ass."

"It may be true that he went mounted as your worship says," answered Sancho, "but there is a great difference between going mounted and going slung like a sack of manure."

To which Don Quixote replied, "Wounds received in battle confer honour instead of taking it away; and so, friend Panza, say no more, but, as I told thee before, get up as well as thou canst and put me on top of thy beast in whatever fashion pleases thee best, and let us go hence ere night come on and surprise us in these wilds."

"And yet I have heard your worship say," observed Panza, "that it is very meet for knights-errant to sleep in wastes and deserts, and that they esteem it very good fortune."

"That is," said Don Quixote, "when they cannot help it, or when they are in love; and so true is this that there have been knights who have remained two years on rocks, in sunshine and shade and all the inclemencies of heaven, without their ladies knowing anything of it; and one of these was Amadis, when, under the name of Beltenebros, he took up his abode on the Pena Pobre for—I know not if it was eight years or eight months, for I am not very sure of the reckoning; at any rate he stayed there doing penance for I know not what pique the Princess Oriana had against him; but no more of this now, Sancho, and make haste before a mishap like Rocinante's befalls the ass."

"The very devil would be in it in that case," said Sancho; and letting off thirty "ohs," and sixty sighs, and a hundred and twenty maledictions and execrations on whomsoever it was that had brought him there, he raised himself, stopping half-way bent like a Turkish bow without power to bring himself upright, but with all his pains he saddled his ass, who too had gone astray somewhat, yielding to the excessive licence of the day; he next raised up Rocinante, and as for him, had he possessed a tongue to complain with, most assuredly neither Sancho nor his master would have been behind him.

To be brief, Sancho fixed Don Quixote on the ass and secured Rocinante with a leading rein, and taking the ass by the halter, he proceeded more or less in the direction in which it seemed to him the high road might be; and, as chance was conducting their affairs for them from good to better, he had not gone a short league when the road came in sight, and on it he perceived an inn, which to his annoyance and to the delight of Don Quixote must needs be a castle. Sancho insisted that it was an inn, and his master that it was not one, but a castle, and the dispute lasted so long that before the point was settled they had time to reach it, and into it Sancho entered with all his team without any further controversy.

*** END OF THE PROJECT GUTENBERG EBOOK THE HISTORY OF DON QUIXOTE, VOLUME 1, PART 05 ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

back

back

back

back

back

back

back

Table of Contents

DON QUIXOTE

Translated by John Ormsby

Volume I., Part 5. Chapters 14-15

Ebook Editor's Note

CONTENTS

CHAPTER XIV.

WHEREIN ARE INSERTED THE DESPAIRING VERSES OF THE DEAD SHEPHERD, TOGETHER WITH OTHER INCIDENTS NOT LOOKED FOR

CHAPTER XV.

IN WHICH IS RELATED THE UNFORTUNATE ADVENTURE THAT DON QUIXOTE FELL IN WITH WHEN HE FELL OUT WITH CERTAIN HEARTLESS YANGUESANS

THE FULL PROJECT GUTENBERG LICENSE