"The more urgently we quest for our authentic selves, the more they tend to recede. The knight and Sancho, as the great work closes, know exactly who they are, not so much by their adventures as through their marvellous conversations, be they quarrels or exchanges of insights... Don Quixote and Sancho really listen to each other and change through this receptivity... Don Quixote and Sancho are victims, but both are extraordinarily resilient, until the knight's final defeat and dying into the identity of Quixano the Good, whom Sancho vainly implores to take to the road again. The fascination of Don Quixote's endurance and of Sancho's loyal wisdom always remains... ... he is perfectly capable of flight, abandoning poor Sancho to be beaten up by an entire village... Don Quixote and Sancho Panza both exalt the will, though the knight transcendentalises it, and Sancho, the first post-pragmatic, wants to keep it within limits... ... Dulcinea is his own supreme fiction, transcending an honest lust for the peasant girl Aldonza Lorenzo. A fiction, believed in even though you know it is a fiction, can be validated only by sheer will... If we have difficulty fully understanding Don Quixote's quest, its motives and desired ends, that is because we confront a reflecting mirror that awes us even while we yield to delight... To Kafka, Don Quixote was Sancho Panza's demon or genius, projected by the shrewd Sancho into a book of adventure unto death. In Kafka's marvellous interpretation, the authentic object of the knight's quest is Sancho Panza himself, who as an auditor refuses to believe Don Quixote's account of the cave... The knight and Hamlet are reckless beyond belief; Falstaff and Sancho have some awareness of discretion in matters of valour... We need, with Cervantes and Shakespeare, all the help we can get in regard to ultimates, yet we need no help at all to enjoy them."
Harold Bloom
Загл. мое
Допълнението към статията ми "Дяволите да ни вземат", pdf: link
