312
nine copper plate images). Consider Gustave Doré’s (1832–1883) 370 odd engravings published in the Louis Viardot translation of 1863,
6
nearly half devoted to the
most extreme, wild landscapes, a superabundance of brewing storms, deep mountainous caverns (of the Sierra Morena or Black Mountain), fulminating skies compressing ravenous edges of tormenting sea, desert, and plains wherein beasts a
plenty beat their battle drums (windmills). Throngs of enemies in all directions, and
despite averted grins and sighs before such heaving buffoonery, there is that unique
realism conferring the way it was, or might have been, among shepherds and fools.
A pastoral unending (Fig. 34.2).
34.2 The Illustrated Dreamers
The same madcap ecological joie de vivre is conveyed by the scores of other rapturous, comic, despairing illustrators, beginning with editions in 1632 in Germany,
Dordrecht in 1657, Brussels in 1662, Spain in 1674, and Hendrick Cause’s Dutch
drawings for the 1681 edition. Then in no particular rapid succession following the
1687 John Phillips edition, such giants of illustration as Daniel Vierge, George
Cruikshank, Toby Johannot, Salvador Dali, Daumier, Goya, Picasso, Henry
Lemarie, and the astonishing Albert Dubout, whose illustrated L’Ingenieux Hidalgo
Don Quichotte De La Manche, published in Paris by Sous L’Emblème Du Secrétaire
in 1938 has the confident Rosinante and Dapple charging like revolutionaries past a
terrified crowd, countering the ultimate follies, as Germany prepared to declare war
on the world and Paris chaotically readied to be occupied (Fig. 34.3).
Between them, Cervantes and Shakespeare, we can point to something that transcends the alleged ACC theory of creativity in the human/primate brain (the anterior
cingulate cortex).
7
These literary enigmas not only borrowed, as it were, from the
powers of the ACC but also defined the brain as a whole, and the mind as it stands
forever in debt to the body in which it lives. A body interdependent with every other
body. Cervantes elicited, however he did it, the ecological storyline. Don Quixote is
a mega-saga of nature, as was the Epic of Gilgamesh; Homer’s Iliad and Odyssey;
the Bible; Virgil’s Aeneid; Ovid’s Metamorphoses; Dante’s Divine Comedy; Milton’s
Paradise Lost; Joyce’s Ulysses and Finnegans Wake; and Kazantzakis’ Odyssey – A
Modern Sequel. But to be clear, Cervantes personalized the ecological tragicomedy
in a way that sets it apart from all of its predecessors and successors. No other character became an adjective, “quixotic,” discernible in nearly every major language,
6 Hachette and Co., Paris, and Cassell and Co., London.
7 “Different brain structures associated with artistic and scientific creativity: a voxel-based morphometry study,” by Baoguo Shi, Xiaoquing Cao, Qunlin Chen, Kaixiang Zhuang and Jiang Qiu,
Sci Rep. 2017; 7: 42911. Scientific Reports, nature research, Feb. 21 2017, https://doi.org/10.1038/
srep42911, PMCID: PMC5318918, PMID: 28220826. Accessed March 27, 2020.
34 The Dream of Don Quixote
nine copper plate images). Consider Gustave Doré’s (1832–1883) 370 odd engravings published in the Louis Viardot translation of 1863,
6
nearly half devoted to the
most extreme, wild landscapes, a superabundance of brewing storms, deep mountainous caverns (of the Sierra Morena or Black Mountain), fulminating skies compressing ravenous edges of tormenting sea, desert, and plains wherein beasts a
plenty beat their battle drums (windmills). Throngs of enemies in all directions, and
despite averted grins and sighs before such heaving buffoonery, there is that unique
realism conferring the way it was, or might have been, among shepherds and fools.
A pastoral unending (Fig. 34.2).
34.2 The Illustrated Dreamers
The same madcap ecological joie de vivre is conveyed by the scores of other rapturous, comic, despairing illustrators, beginning with editions in 1632 in Germany,
Dordrecht in 1657, Brussels in 1662, Spain in 1674, and Hendrick Cause’s Dutch
drawings for the 1681 edition. Then in no particular rapid succession following the
1687 John Phillips edition, such giants of illustration as Daniel Vierge, George
Cruikshank, Toby Johannot, Salvador Dali, Daumier, Goya, Picasso, Henry
Lemarie, and the astonishing Albert Dubout, whose illustrated L’Ingenieux Hidalgo
Don Quichotte De La Manche, published in Paris by Sous L’Emblème Du Secrétaire
in 1938 has the confident Rosinante and Dapple charging like revolutionaries past a
terrified crowd, countering the ultimate follies, as Germany prepared to declare war
on the world and Paris chaotically readied to be occupied (Fig. 34.3).
Between them, Cervantes and Shakespeare, we can point to something that transcends the alleged ACC theory of creativity in the human/primate brain (the anterior
cingulate cortex).
7
These literary enigmas not only borrowed, as it were, from the
powers of the ACC but also defined the brain as a whole, and the mind as it stands
forever in debt to the body in which it lives. A body interdependent with every other
body. Cervantes elicited, however he did it, the ecological storyline. Don Quixote is
a mega-saga of nature, as was the Epic of Gilgamesh; Homer’s Iliad and Odyssey;
the Bible; Virgil’s Aeneid; Ovid’s Metamorphoses; Dante’s Divine Comedy; Milton’s
Paradise Lost; Joyce’s Ulysses and Finnegans Wake; and Kazantzakis’ Odyssey – A
Modern Sequel. But to be clear, Cervantes personalized the ecological tragicomedy
in a way that sets it apart from all of its predecessors and successors. No other character became an adjective, “quixotic,” discernible in nearly every major language,
6 Hachette and Co., Paris, and Cassell and Co., London.
7 “Different brain structures associated with artistic and scientific creativity: a voxel-based morphometry study,” by Baoguo Shi, Xiaoquing Cao, Qunlin Chen, Kaixiang Zhuang and Jiang Qiu,
Sci Rep. 2017; 7: 42911. Scientific Reports, nature research, Feb. 21 2017, https://doi.org/10.1038/
srep42911, PMCID: PMC5318918, PMID: 28220826. Accessed March 27, 2020.
34 The Dream of Don Quixote