The Bible and Don Quixote

“God, source of inspiration of Don Quixote; the Bible, model of organizational structure of Don Quixote; and Catalina de Salazar y Palacios, love of the famous Manco and his source of human inspiration, are part of Don Quixote de la Mancha, by Miguel de Cervantes Saavedra.”

The Bible, translated into 450 languages in full and more than 2000 in part, written by men and inspired by the majestic and mighty Lord God, is part of Don Quixote de la Mancha (1605 & 1615), which has been translated 1140 times into some 190 languages and dialects. It was written by the brilliant Miguel de Cervantes Saavedra (1547-1616), hero of the Battle of Lepanto (1571), exemplary slave in Algiers (1575-1580), and perpetual reader of the true riches of the Old and New Testaments, for whom Jesus Christ was “God and true man” (Don Quixote, II-XXVII), and for whom the wish about the Bible came true: “It is clear to me that there should be no nation or language where it is not translated” (Quixote, II-II).

Don Quixote contains 181,104 words, of which 22,939 are unique; and the infinite wisdom of the Word of God left traces in the soul of Miguel, who loved God and the Bible, guide of his life, for he evoked the Bible three times in the “Prologue” of the first part of Don Quixote, “the Divine Scripture,” and he made authentic display of his vast biblical knowledge throughout his works; he alluded to thirty biblical characters, dealt with 300 references to the Bible, and included countless allusions and reminiscences of the Holy Scripture.

The Bible, the Book of books, whose principal inspiration is God, and Don Quixote, a human jewel of incalculable magnitude; both books of varied readings—on the absolute truth and undeniable existence of God, the superlative role of God in human thought and life, the direct and indirect communication between God and man, and the transcendence of divine life in the human heart—both books love Humanity and speak to our hearts.

However, it is not my goal to compare the Bible and Don Quixote because man can never equal God, for the Bible is incomparable and unsurpassable, and God clearly proclaims it this way: “I am the first and the last, besides me, there is no God, who is like me? Let him arise and speak. Let him proclaim it and argue against me” (Isaiah, 44: 7).

Even Miguel criticizes the comparison between the human and the divine as follows: “nor has he any reason to preach to anyone, mixing the human with the divine, which is a kind of mixture of which no Christian understanding is to be clothed. He only has to take advantage of imitation in what he writes, and the more perfect it is, the better will be what he writes: (Q, I, “Prologue”).

I still want to make special emphasis, inter alia, that the precious treasure of the Bible and the precious treasure of Don Quixote, both works of inestimable value for Humanity, are concerned with ethics, morality and religion in the behavior of the human being, that is why the phrase: where is your treasure there is your heart, comes here like a ring to the finger.

Cervantes’ thoughts and words, in all his works, are influenced by God through the Holy Spirit, despite the fact that some “academics of excellence” completely reject his knowledge of the Bible, but continue to ask without hitting the mark: how to approach Don Quixote? What to do and where to start? What are the tips for reading Don Quixote? What is the challenge of reading it? Why is it so difficult to understand it? And how to read Don Quixote?

The answer is very simple, but it is essential to leave aside all myths, fantasies, and hypocrisies; that is, before approaching Don Quixote, the works of Cervantes, and those of the geniuses of Spanish Golden Age literature, one must first and unavoidably read the Bible, and then acquire a solid knowledge of the origin of Spanish literature up to the dissemination of the masterpiece of world literature, Don Quixote (1605 & 1615).

This is the only infallible way or the only golden key to easily read and understand Cervantes, Don Quixote, and the best literature in the world, which is Spanish literature—exemplary, majestic and superior to all, in essence, is that of the Golden Age—headed by the brilliant novel of the distinguished leader of universal literature, Miguel, lover of books, who always read, taught and loved the Holy Scripture, par excellence, and with which he identified himself during his life trajectory at all times.

Cervantes is fully aware of the value of the Bible, speaks of the truth in the Sacred Scripture, advises us to read it: “If… he wants to read books of exploits and chivalry, read in Sacred Scripture the ‘Book of Judges,’ and there he will find great truths and deeds as true as brave” (Q, I-XLIX), and confesses that “Holy Scripture… cannot lack an atom in truth” (Q, II-I), and eternalizes his biblical knowledge and the greatness of God’s love in his works.

Certainly, Miguel loved the Bible, book of the history of the world, of poetry, and of wisdom, in which, as an example, the Book of Psalms, the Book of Proverbs and the Song of Songs are sublime, despite the fact that some “scholars of excellence” left Miguel’s knowledge of the Holy Scripture in the dark without any compelling reason manifested in the masterpieces of the genius of universal literature.

In addition to this, I should add that the meritorious historian José Luis Abellán García-González affirms that “Don Quixote is the Spanish Bible” (Visiones del Quijote, 130). The meritorious professor Alfonso Ropero Berzosa writes that it is the “Bible of universal literature, which is illuminated by the Christian Bible, from which Cervantes extracts the idea of justice and freedom so human and so divine” (El Quijote y la Biblia, 10). The extraordinary historian Sabino de Diego Romero, President of the Cervantine Society of Esquivias, says of Catalina, in his magnificent work: Catalina, fuente de inspiración de Cervantes (Punto Rojo, 2015), says through the mouth of Don Quixote, “because blood is inherited, and virtue is acquired, and virtue alone is worth what blood is not worth” (Catalina…, 242). And the excellent writer Eduardo Aguirre Romero declares with greater precision that “in these uncertain times, Miguel de Cervantes still has much light to offer us” (“Si Cervantes levantara la cabeza,” Diario de León, 27-III-2022).

Therefore, the questions arise; should we read the Bible and Don Quixote compulsorily in universities and schools? What are the reasons for reading such works? The answer is, yes. The Bible, God’s wisdom, and Don Quixote, human wisdom, are my daily readings for beauty, wonder, power, wisdom, truth, and virtues, among many.

Indeed, the spirit of both works pierces the soul like the sharp two-edged sword or the sword of Achilles of Troy, and both works are for the people; they speak of love and lovelessness, of good and evil, of the beautiful and the noble; they are concerned with humanity; they penetrate our human hearts; and they teach us to love one another and become better people.

The Bible, the wonderful book, can be read every day; it only needs 11:59 minutes; and if you start it on January 1st, you will finish it on December 31st of the same year. Or, I recommend you to listen to the Bible published by the University of Navarra in audiobook format. Don Quixote, the Bible of Humanity, can be read daily; it only takes 4:43 minutes; and if you start it on January 1st, you will also finish it on December 31st of the same year; or you can listen to it on Cadena SER.

You will not regret reading day after day the glorious Bible and the ingenious nobleman Don Quixote. You will always discover something new. You will feed on the wisdom of God and the wisdom of the famous Manco de Lepanto, and you will be provided with infinite benefits. Read every day the Bible and Don Quixote de la Mancha!

Laus in Excelsis Deo.

Krzysztof Sliwa is a professor, writer for Galatea, a journal of the Sociedad Cervantina de Esquivias, Spain, and a specialist in the life and works of Miguel de Cervantes Saavedra and the Spanish Golden Age Literature, all subjects on which he has written several books. He has also published numerous articles and reviews in English, German, Spanish and Polish, and is the Corresponding Member of the Royal Academy of Cordoba and Toledo.

Featured: Don Quijote in der Studierstube lesend (Don Quixote in the Study Room, Reading), by Adolf Schrödter; painted in 1834.

Long Live the Humanities, Ever Living!

An invitation to reflect on the love for the Humanities.

The meritorious writer, Eduardo Aguirre Romero, who is an on humor in Cervantes and is very much a humorist in his own right, has written a remarkable book. humor Eduardo Aguirre Romero, himself very much a humorist, author of the remarkable books, Vivan las Humanidades, siempre vivas (Long live the Humanities, Ever Living). Previously, he has written, Cervantes, enigma del humor (Cervantes, Enigma of Humor), Cine para caminar (Cinema to Walk With), Blues de Cervantes (Cervantes Blues), and Entrevista a Cervantes (Interview with Cervantes). His latest book was brought to the stage as a “dramatized conference,” at the Aula Magna of the Faculty of Philosophy and Letters, at the University of León, during the institute’s joyful patron saint festivities for San Isidoro on April 18, 2023. The book includes a foreword by Professor José Montero Reguera, Dean of the Faculty of Philology and Translation at the University of Vigo.

The leading parts at the “dramatized conference” were played by:

  • Juan Matas Caballero, Professor and Corresponding Academician of the Royal Academy of Sciences, Fine Arts and Noble Arts of Córdoba, who has recently edited the magnum opus, Sonetos de Luis de Góngora (Sonnets of Luis de Góngora);
  • Marta Roa , the former Dean of the Faculty of Philosophy and Letters, University of León, (who is actually the wife of Eduardo Aguirre Romero; this fact actually serves as a gag within a gag in the dramatized lecture);
  • Ángeles Rodríguez the renowned Mexican actress;
  • Juan Álvarez Iglesias, student at the Faculty and Letters;
  • Siro López Lorenzo, the essayist (such as, “Epilogue;” “Letter to Krzysztof Sliwa”), who is one of the most important Spanish graphic humorists and caricaturists;
  • Marcelo Tettamanti and Pedro Fergar, poets both of photography.

In his Prologue, the renowned Cervantes scholar Montero Reguera correctly observes that the role of a Dean of Humanities “is a very laborious job, not given to leisure, in which very curious and sometimes unthinkable things are dealt with… since it is up to us—philologists, philosophers, historians—to make our society capable of looking to the future with an open, expectant, curious, responsible vision.”

The Dramatic Conference.

Reguera rightly suggests that the “theatrical” Eduardo Aguirre Romero explains very well the role of a Dean of the Humanities in our very difficult times and alludes to his teacher the philologist Alonso Zamora Vicente (1916-2006)—who was also the teacher of the Peruvian writer, Mario Vargas Llosa (1936-) who was awarded the Nobel Prize for Literature (2010), and from whom Reguera quotes these words:

The young Spaniard must always be in the flesh, before Cervantes’ criticism of the society in which he lives, and learn from him the position that an intellectual must maintain in the face of the ever-changing socio-political structures; he must be in the vanguard of them, in permanent constructive opposition, marking an ethic and an inextinguishable desire for improvement” (Vivan, pp. 14-15).

Reguera agrees with Aguirre, and states that

The humanities are fundamental for being human, enriching to the highest degree, but also fun, a lot of fun: the stuff composed by Matas and Aguirre that ended up becoming a gangarilla, with the intervention of a certain de Saavedra [Cervantes], in the guise of Ángeles Rodríguez proves it. Come in, come in and read Aguirre, you will have a good time, and yes, you will end up shouting, with conviction, ‘Long Live the Humanities!’ (Vivan, p. 15).

Moving forward in time, let us now focus on the “dramatized conference,” which is the heart of the play, and in whose theatrical representation the members participate. They are Juan Mata Caballero, Eduardo Aguirre Romero, the Lady (Marta Roa), Miguel de Cervantes (Ángela Rodríguez), and Pancracio de Roncesvalles (Juan Álvarez Iglesias). They profess the challenges of the Humanities in this way:

Aguirre:
“They say that bad winds are blowing for our beloved Humanities… but when have good times ever blown for it?
“Tell me, which times have been good for the Humanities? And for the human?
“Finally, ask your parents or your grandparents about difficult times. Difficulty is part of the test, in studies and in professions, even in love and in life. This is what this minstrel of columns tells you.
“Who has seen many towers fall that I never imagined I would see fall. But I also see others rise. Raise your own towers, be builders of your reality and not mere passive objects of what they want to impose on you. It is not easy. But it never was.
“And yes, how can you deny it: an economic crisis that does not end… the conflict in Ukraine that puts it at risk.
“New totalitarian fascinations, right and left… a crisis of the Spanish educational system—not caused by teachers—that links with the previous one and the previous one and the previous one… the majority’s disaffection towards culture;
“All this is true, but it is not the only truth. Participate in the combat of values in which we have put you… and win it in our name” (Vivan, pp. 19-23).

Indeed, Aguirre emphasizes that “Humanities studies are the master pillar on which civilization has built the best of itself” (Vivan, p. 24). However, despite the crisis of the Humanities, Aguirre writes with elegance and appeals to students, teachers and amateur enthusiasts: “Yearn for excellence, as a first step to achieve that solid formation which must be the shield;” and “overcome the threats with the weapons of our values, but also of your academic formation” (Vivan, p. 26), because “a society without Humanities taught in public education would mean that the only criteria would be economic ones, in the name of what they call professional opportunities. Of course, and when there are not, create them. Let’s say it now, today Culture as we know it, which is not one but the sum of many, is also in danger. We cannot deny the obvious” (Vivan, p. 29).

Alongside this, in defense of the Humanities, Aguirre, who is a columnist for the Diario de León, resurrects Miguel de Cervantes Saavedra, King of Spanish Literature, mentions some notorious examples throughout his work, and appeals to students in this way:

In this good fight, it is not enough to be enrolled, or to have tiptoed through it. Nor is it enough to save yourself by the skin of your teeth. Allow me to insist… yearn for excellence, yearn for it with joy and passion. Have a voracity for knowledge…. You are in a wonderful stage in which your main obligation is to train yourselves. You will never have so much time for it again. These years are your foundation for the future” (Vivan, pp. 29-31).

To further reinforce his opinion of the Humanities, despite the challenges, Aguirre (himself a member of the Cervantistas Association) teaches the reader the power of the Humanities, which are valuable not only valuable for men of letters, but constitute pearls of wisdom from the genius of universal literature. Thus, Aguirre deduces that “Cervantes and his most universal masterpiece have an enormous formative power, without the need to take it to nineteenth-century distortions or to mutate it into a lackey of May ’68” (Vivan, p. 49). Aguirre, with his deep curiosity, emphasizes a great honesty:

Aguirre: The Humanities are not only what you know, but also—or above all—what you do” (Vivan, p. 33);

and then he rightly recommends this course of action:

Cervantes- “TRAIN yourselves… CREATE yourselves… BUILD yourselves… WRITE yourselves… READ… LISTEN… In short, FIGHT… for what is yours, which belongs to everyone. And also, of course… LAUGH… LOVE… SING…” (Vivan, p. 38).

It is also important to state that it is a great honor and privilege for me to give you my sincere thanks for defending the Humanities through theater, and to congratulate the playwright Eduardo Aguirre Romero, sincere believer, effective observer of reality and versatile writer, for his magnificent theatrical work, a scenic landmark of the Humanities, which illustrates the fundamental values of sincere love and true sacrifice, won with love, pain and humor, oriented to all humanity. My congratulations I also extend to all the theatrical characters, and to the exemplary editorial achievement, in a work designed to be distributed free of charge among teachers and students, as it is already being done. My warmest congratulations to all!

It should be emphasized that the gag that closes the book, that the Quixote delivered by Aguirre to Cervantes for his signature is by mistakenly the apocryphal one (1614), so by Alonso Fernandez de Avellaneda, at least in the edition of the Royal Spanish Academy, and is a tribute to the meritorious professor Luis Gomez Canseco, of the University of Huelva. At the same time, I emphasize that it is only right to be grateful for the dedication that the author makes to me and for the letter he sends me at the end of the book.

Without the slightest shadow of a doubt, Eduardo Aguirre proclaims unconditional love and aesthetic, human, personal, social and universal values through his unwavering pen for the Humanities, which contribute decisively to the more humane formation of the global citizen, but which gradually tend to be conspicuous by their absence in university classrooms.

Aguirre, who loves humanity, reflects the current situation of the humanities around the world through his characters and themes. He relies on wise and healthy humor, because weise Wörter sind gesund—thus he captures the reader’s soul, and invites us to defend the Humanities and make us better human beings.

In conclusion, the masterpiece, Vivan las Humanidades, siempre vivas, illuminates the path of our heart; it beautifies us spiritually, and proves that it is beneficial and indispensable to serve by leading and loving the Humanities and all Humanity. Congratulations to all!

Krzysztof Sliwa is a professor, writer for Galatea, a journal of the Sociedad Cervantina de Esquivias, Spain, and a specialist in the life and works of Miguel de Cervantes Saavedra and the Spanish Golden Age Literature, all subjects on which he has written several books. He has also published numerous articles and reviews in English, German, Spanish and Polish, and is the Corresponding Member of the Royal Academy of Cordoba and Toledo.

Featured: Cervantes writes the dedication of Don Quixote to the Count of Lemos, by Eugenio Oliva Rodrigo; painted in 1883.

Battle Standards of Lepanto

“Military service, under the banner, of Miguel de Cervantes Saavedra, brilliant soldier of the Elite Special Forces of the Spanish Old Tercios, at Lepanto, soul of every soldier and heart of Spain, is a divine virtue.”

For the first time since the death of the “King of Spanish Literature,” 407 years later, I have the great honor of dedicating a brief study to the invincible standards of the glorious Man of La Mancha, who loved them with all his heart and soul and defended them with the highest dignity, nobility and courage because “the soldier seems more likely to be dead in battle than alive and safe in flight” (Don Quixote, II-XXIIII).

Here the words of Major General (R) Rafael Dávila Álvarez come readily to mind: “There is nothing like the Spanish soldier, and my only aspiration has always been to be at his level.”

Under threat of imminent war against the Ottoman Empire of Selim II (1524-1574), Cervantes entered his first military service in Italy, and thanks to the recommendation of Giulio Acquaviva d’Aragona and Giovanni Girolamo I Acquaviva d’Aragona (1521-1592), the tenth Duke of Atri, and that of his son Adriano Acquaviva d’Aragona (1544-1607), very good friends of General Marcantonio Colonna (1535-1584), of whom Cervantes had heard “have often heard Cardinal de Acquaviva tell of your Lordship [Ascanio Colonna, Abbot of Santa Sofia] when I was his chamberlain at Rome” (Galatea, 1585).

Indeed, Cervantes’ first military mission began under the command of Marcantonio, who led numerous naval operations before the battle of Lepanto, and whom Cervantes served for more than two years, according to the dedication of La Galatea addressed to Cardinal Ascanio Colonna (1560-1608), where he affirmed that “I may at least deserve it for having followed for several years the conquering standards of that Sun of warfare whom but yesterday Heaven took from before our eyes, but not from the remembrance of those who strive to keep the remembrance of things worthy of it, I mean your Lordship’s most excellent father.”

To Cervantes it was an opportune occasion to restore his reputation and to enter the army because “the Turk was coming down with a powerful armada and his design was not known, nor where he was going to unload such a great cloud” (Don Quixote, II-I). Therefore, on June 5, 1570, Pope Pius V (1504-1572) appointed the Roman Marco Antonio Colonna, the general in chief of the pontifical squadron, and on July 15 of the same year, the “Prince of Christendom” ordered “his commanders in Italy to place themselves under the orders of the General of the Armada of Pius V” (A.Z. c. 51 no. 2).

According to the historian Ricardo de Hinojosa y Naveros (Los despachos de la diplomacia Pontificia en España,185-86) Marcantonio was general of the pontifical galley squadron before April 1570, which was part of the twelve galleys assembled along with the sixteen galleys of the Genoese admiral Giovanni Andrea Doria on September 1, 1570 in La Suda in order to organize the relief-expedition of Cyprus and to raise the siege of Nicosia.

Cervantes joined the Pontifical Armed Forces in early 1570 and took part in the unsuccessful campaign for the relief of Nicosia, whose was launched on August 30, 1570 and then abandoned after the loss of Nicosia.

Cervantes details that they arrived “at the strong island of Corfu, where they took water” (The Liberal Lover) and then crossed the place where The Liberal Lover began: “O pitiful ruins of wretched Nicosia, scarcely wiped with the blood of your valiant and unfortunate defenders!” and tells that “looking from an outcrop at the demolished walls of the already lost Nicosia; and so he spoke with them, and compared their miseries to his own, as if they were capable of understanding him.”

Cervantes undoubtedly served in a company of Marcantonio until the arrival of his brother Rodrigo in Genoa, on July 26, 1571, who was one of the 2,259 soldiers of the company of Captain Diego de Urbina, deployed in the Tercio of the field commander Miguel de Gurrea y Moncada (ca. 1549-1612) and in that of Lope de Figueroa, who crushed the Alpujarra rebellion under the command of John of Austria and the Third Duke of Sessa.

Cervantes alludes to the arrival of John in Genoa, on August 6, 1571, who on August 9, 1571 went on to Naples, as follows: “My good fortune would have it that Senor Don John of Austria had just arrived in Genoa and was passing on to Naples to join the Venetian armada” (Don Quixote, I-XXXIX).

Military historian Juan Luis Sánchez Martín thinks that Cervantes enlisted in Diego de Urbina’s company “between August 9 and August 19, 1571 in Naples” (Los capitanes del soldado Miguel de Cervantes, 176) and the letter of August 25, 1571 from Don Juan to García Álvarez de Toledo Osorio (1514-1577), captain general of the galleys of Naples, evidences the appearance of Spanish troops in the Venetian squadron thus: “I found here Marco Antonio de Colonna with the twelve galleys of his Holiness, which are in his charge, well in order; likewise I found Sebastián Vernier, general of the navy of the Venetians, with forty-eight galleys, six galleys and two ships” (M. Fernández Nieto, Miguel de Cervantes Saavedra, Don Quijote de la Mancha, 214-15).

On September 1, 1571 the sixty galleys from Venice arrived in Messina, and on September 8 Don Juan reviewed the fleet “in which he had boarded on his ships, the Venetians, 4000 soldiers, for the service of the king of Spain;” and on September 9 in Leguméniças he communicated that “with the occasion of a dispatch that I sent to Naples it has seemed to me to advise you that these Venetian gentlemen at the end have finished resolving to take in their galleys four thousand infantrymen of those of S. M… that is to say, 2500 Spaniards and 2500 Spaniards, that is to say, 2500 Spaniards and 1500 Italians” (J. A. Crespo-Francés, Miguel de Cervantes, 8).

On Sunday, October 7, 1571, Cervantes was part of the Third Squadron of the fifty-four ships of the Venetian commander Agustín Barbarigo (1500-1571), located on the left wing of La Real, led by Don Juan, about which on March 20, 1578, Ensign Mateo de Santisteban stated thus: “To know the said Miguel de Cervantes, which was the day that the said Cervantes served in the said battle, and was a soldier of the company of Captain Diego de Urbina in the galley Marquesa, of Juan Andrea” (K. Sliwa, Documentos De Miguel De Cervantes Saavedra, 49-50).

This statement proves that Cervantes fought in the only Genoese galley Marquesa, commanded by the Italian captain Francisco Molin, belonging to Admiral Giovanni Andrea Doria, No. 34 of the Third Squadron of the Venetian commander Augustin Barbarigo, second in the high command of the Venetian Fleet after the Venetian Admiral Sebastiano Venier (1496-1578).

At Lepanto, Cervantes was among, inter alia, the following standards:

Before ending this brief summary on the legacy of Cervantes, hero of Algiers, who infinite times, with tears of love, kissed the flag of his homeland, heart of Spain, I thank the excellent military historian and Infantry Brigadier, Miguel Angel Dominguez Rubio, decorated with the Cross of Military Merit with White Distinctive, the Cross of the Royal Military Order of San Hermenegildo and the NATO Medal, Head of the Communication Office, Infantry Regiment, “Tercio Viejo de Sicilia,” N. No. 67, and author of the exemplary book: 1719-2019 Tercio Viejo de Sicilia nº 67: 300 años de la llegada a San Sebastián (Halland Books, 2019), in collaboration with Josué del Cristo Pineda Gómez. His love, sacrifice and bravery to Spain, homeland of heroes, and his gift of the shoulder flash, the medal with the words: “Valor, Firmeza y Constancia” [Courage, Firmness and Constancy], and the pocket flag of the Infantry Regiment, “Tercio Viejo de Sicilia,” No. 67, whose words ennoble all of us, who love “our sweet Spain, beloved homeland” (Treatise on Algiers):

With this Flag on your pocket, you will always carry with you a piece of our Homeland. It will help you to keep your commitment of Service to Spain. It will remind you of all those who fight by your side and are proud of your sacrifice and it will give you the strength will give you the strength for your dedication in the defense of our Nation, its values and its freedom.

I conclude by making a special emphasis that our exemplary and excellent Infantry Regiment, “Tercio Viejo de Sicilia”, No. 67, has as a collective pride to recite every morning the Camino del Sicilia, the stanzas that form the essence of our identity, and the voice of the colonel who exhorts us loudly: “This is the old Third!” And everyone responds with the verses of the Camino del Sicilia: “This is the old third,

which in death has proven more than a thousand times its nobility!” And this compendium of virtues and commitments is sealed with our “Battle Cry,” that is answered by the three words of response: “In combat, courage!”

“In our ideals, steadfastness! In preparation, constancy!” (M. Á. Domínguez Rubio, 1719-2019, Tercio Viejo de Sicilia, 50).

Laus in excelsis Deo.

Krzysztof Sliwa is a professor, writer for Galatea, a journal of the Sociedad Cervantina de Esquivias, Spain, and a specialist in the life and works of Miguel de Cervantes Saavedra and the Spanish Golden Age Literature, all subjects on which he has written several books. He has also published numerous articles and reviews in English, German, Spanish and Polish, and is the Corresponding Member of the Royal Academy of Cordoba and Toledo.

Featured: The Battle of Lepanto, fresco by Giorgio Vasari; painted ca. 1572-1573.

New Documents: Maese Nicolás is Based on a Barber Cervantes Knew

“Oh, sweet Spain, beloved homeland.” Miguel de Cervantes Saavedra.

The distinguished historian, Don Sabino de Diego Romero, President of the Cervantes Society of Esquivias, former mayor of Esquivias, and author of excellent books and articles, including Genealogía de Fray Francisco Ximénez de Santa Catalina, fraile de la Santísima Trinidad de Calzados, natural del Lugar de Esquivias, que fundó un hospital en Túnez (Genealogy of Fray Francisco Ximénez de Santa Catalina, friar of the Holy Trinity of Calzados, native of the Place of Esquivias, who founded a hospital in Tunis), Cervantes y Esquivias, lo que todos debemos saber (Cervantes and Esquivias. What We All Should Know), and Catalina. Fuente de inspiración de Cervantes (Catalina. Cervantes’ Source of Inspiration), discovered a new document about a real person in Don Quixote.

In 2015, Diego Romero published Análisis biográfico sobre Catalina de Salazar y Palacios (Biographical analysis on Catalina de Salazar y Palacios), which provided new, unpublished documents on the barber Mease Nicolás, a character in Don Quixote, that most outstanding work of universal literature by the “king of Spanish literature.”

According to the excellent documentary work of Diego Romero, from the of the time of the publication of Don Quixote, in 1605, Cervantine researchers have been making all kinds of speculations about whom Cervantes took as literary models, starting with Don Quixote himself and continuing with characters, such as Sancho Panza, the priest Pero Perez, as well as a character whom Cervantes gave the responsibility of bringing Quixote’s “madness” to a happy ending, namely, the barber Maese Nicolás.

In this sense, it should not be forgotten that Maese Nicolás is introduced by Cervantes, for the first time, in Chapter V of the Part One of Don Quixote, together with the priest Pero Pérez, both residents of Esquivias, who eagerly conspire to bring Don Quixote back to his senses and are found in Quixote’s library, burning the pernicious books that altered his mind, in the opinion of both characters, found in Quixote’s library.

Therefore, in this context, I would like to emphasize that according to Don Sabino de Diego Romero, the barber’s shop, together with the tavern, were the ideal places for conversation among neighbors, and playing the guitar, and being also the centers of attention and influence. The barber, tonsor (of medieval origin), in addition to shaving beards, exercised the function of tooth-puller, performed bloodletting, healed wounds, bruises and broken bones well into the nineteenth century, when doctors became an independent guild and looked after the ailments once taken care of by the barbers. The barber of Esquivias was the one who took care of the tonsure—popularly known as coronilla (“crown”)—of Father Pero Pérez, priest of Esquivias, who exercised his pastoral work in the hermitage of San Bartolomé, in the outskirts of the town. The number of services rendered by the barber meant that:

“The influx of people to the barber’s shop was such that this place was the most frequented for social interaction and public discourse, where public forums were formed, for open debates with the participation of the locals on current issues.
“In small towns, in the absence of a regular doctor, it was the barber-surgeons who looked after medical needs, and accompanied the physician in his sporadic visits to the sick of the place.
“This meant that the affluence to the barbershop was massive and the barber needed the assistance of a good number of people, women in this case, who helped, cleaned, and produced soaps for personal use that were sold in the establishment, among other things.
“Likewise, as the shaving process was slow, given the deficient tools used, this meant an inevitable delay, resulting in the crowding of people in the barbershops being greater than in the taverns.”

Without a hint of doubt, Don Sabino de Diego Romero has found in Esquivias the barber-surgeon of the last third of the 16th century, whose name was Nicolás de Olmedo, a person of primordial influence among the commoners of the town. His opinion was respected by all, even by the noblemen of the town, who were also his clients, since the Master Barber, Nicolás de Olmedo, exercised a decisive influence between the two cultural strata of the town of Esquivias, noblemen and commoners, both for being the center of attention in his barbershop, as well as the natural gratitude of the families of Esquivias, for hiring a good number of young girls for the many services at his shop.

At this point, I must state that Diego Romero has found precise documentation that, between 1577 and 1589, Nicolás de Olmedo hired 20 young girls, all of whom were eleven years old. According to the new document of January 5, 1592, found by Diego Romero, we know that the Council of Esquivias agreed to appoint a new barber officer in this way:

“For being Able and sufficient and having a Letter of Review for such barber by Cristobal Ximenez… And that he be obliged to have knowledge of the Sick that are found in the said place and to walk with the doctor to visit them… that he cannot leave the said place without the License of Justice. That he may not play ball or throw or work with an axe or adze or anything else. And if he should be ill, that he be obliged to have another barber in the place at his own expense, and if he does not do so, that the Council bring another barber at his own expense.” (And it is signed by Nicolás de Olmedo, as a member of the Council).

Thus, from the beginning of January of 1592, the Master Barber, Nicolás de Olmedo, stopped holding the office of the barber’s shop in Esquivias, which then reverted back to Cristóbal Ximénez.

Further, it is worth mentioning that thanks to these new documents, found by Diego Romero in the archives of Esquivias, other native characters have become known, and there is now evidence that some of these were relatives of María de Uxena (Quixote, “Galatea,” 288º, 19), the girl whom Catalina de Salazar y Palacios named as heir. One of the most representative of these characters is the Master Barber, Nicolás de Olmedo.

In addition to this, the investigations carried out by Diego Romero document that Nicolás de Olmedo was married to Magdalena Rodríguez, sister of Catalina Alonso, mother of Ana Rodríguez—who married Juan de Uxena, who were parents of María de Uxena (Diego Romero, Catalina, p. 280), and in turn, Nicolás del Olmedo was the brother of Lucía Romana, who married Martín Alonso, parents of Pedro Alonso (Quixote-V-I; “Galatea,” 290º, 18-19).

In this respect, it is indispensable to emphasize that Nicolás de Olmedo and Magdalena Rodríguez were grandparents of the child Juan, whose baptism, Miguel de Cervantes and his wife Catalina de Salazar y Palacios, on the basis of the good friendship between both families, sponsored, on October 25, 1586.

Add to this that on April 9, 1588, Catalina, together with her cousin, Diego García de Salazar, acted as godparents at the baptism of Susana, the granddaughter of the Master Barber, Nicolás de Olmedo, where, on that occasion, Catalina was identified, in the baptismal certificate, as “muger de Miguel de Cervantes” (wife of Miguel de Cervantes).

Adding to the extensive list of inhabitants of Esquivias, and those related to the Master Barber, Nicolás de Olmedo, Diego Romero has discovered that Magdalena Rodríguez, Olmedo ‘s wife, was the aunt of Juana Gutiérrez (obit October 25, 1604) who was the wife of the Sacristan Mayor, Francisco Marcos, who in turn appeared as witness in the marriage of Miguel de Cervantes Saavedra with Catalina de Salazar y Palacios.

It should also be said that Catalina Alonso, the maternal grandmother of María de Uxena, was the sister-in-law of Nicolás de Olmedo, and who, at the time of her death (Documents, 10-IX-1590), named Don Juan de Palacios y Salazar, Catalina’s maternal uncle, as her executor.

Baptismal certificate of Diego, son of Nicolás de Olmedo and Magdalena Rodríguez. February 8, 1573 (B1059v2ª. Unpublished).

In view of this, through the documents revealed, linked to Miguel de Cervantes Saavedra, husband of Catalina de Salazar y Palacios, and the evident relationship that existed between Cervantes and Nicolás de Olmedo, for being contemporaries; in fact, according to Diego Romero, it is crystal clear, based on the legitimate documentation, that for the character of Maese Nicolás, Miguel de Cervantes Saavedra took the person of the Master Barber of Esquivias, Nicolás de Olmedo.

In short, I congratulate the Esquivian historian Don Sabino de Diego Romero for the magnificent discovery of new documents of capital importance about the authentic characters presented in The Ingenious Hidalgo Don Quixote de la Mancha for the documented biography of Catalina, the glorious Man of La Mancha, the history of Spain and of Esquivias.

As well, I must emphasize that Diego Romero has discovered the twelfth real character of Don Quixote, after Quijano or Quijada y Quesada, sometimes called Alonso Quijano, protagonist of Don Quixote; the priest Pero Perez; Teresa Panza, wife of Sancho Panza, whom Cervantes calls Juana Gutierrez, Mari Gutierrez or Teresa Cascajo; Sancho Panza; the squire Vizcaíno; Pedro Alonso, also called Pedro Alonso de Salazar; Aldonza Lorenzo; Ricote, the Morisco; Pedro Martínez, Tenorio Hernández, and Juan Palomeque, named in Chapters XVII and XVIII of the first part of Don Quixote.

Without a shadow of a doubt, I thank Don Sabino de Diego Romero for his exemplary and excellent work; and with all certainty these documentary gems will form part of the new book, Documentos de Catalina de Salazar y Palacios (Documents of Catalina de Salazar y Palacios), which currently includes 1700 legal documents, 1350 of which were discovered by our extraordinary and indefatigable author Don Sabino de Diego Romero, President of the Cervantine Society of Esquivias. Congratulations.

Laus in excelsis Deo.

Krzysztof Sliwa is a professor, writer for Galatea, a journal of the Sociedad Cervantina de Esquivias, Spain, and a specialist in the life and works of Miguel de Cervantes Saavedra and the Spanish Golden Age Literature, all subjects on which he has written several books. He has also published numerous articles and reviews in English, German, Spanish and Polish, and is the Corresponding Member of the Royal Academy of Cordoba and Toledo.

Featured: Escrutinio de las Novelas llevado a cabo por el Cura y Maese Nicolás, el Barbero (Scrutiny of the Novels carried out by the Curate and Maese Nicolás, the Barber), engraving by Jérôme David, and published by Jacques Lagniet in Paris, between 1650—1652.

Peace Calls Us

Beatriz Villacañas is a poet, essayist, translator and literary critic. She holds a PhD in English philology and teaches English and Irish literature at the Complutense University of Madrid. Her father was Juan Antonio Villacañas, one of the greatest Spanish poets of the post-war period. She has published many books of poems and has won various literary prizes. For her poem, “Peace Calls Us” (newly translated below), she was named an International Cultural Ambassador on behalf of Spain by the International Chamber of Writers and Artists, CIESART, as well as an International Ambassador for Peace.

The translations that follow are by Krzysztof Sliwa, who is a biographer, documentalist, writer and Corresponding Academician of the Royal Academy of Cordoba, Corresponding Academician of the Royal Academy of Toledo and Member of Honor of the Sociedad Cervantina de Esquivias, Spain.

“God is the only example” [Saint John of the Cross (1542-1591)].

“The pen is the language of the soul” [Miguel de Cervantes Saavedra (1547-1616)].

Peace Calls Us

Peace calls us, brothers, it invites us,
and opens for us the lights of its bridges,
on which we walk to find the sources
of a Good that heals every wound.

Although evil is winning the game,
let us not give up, let us be resilient.
May peace, justice and the good be the currents
to navigate in this life.

Let us open our eyes to Truth
and with its lucidity and its caress,
let us be a worthy humanity.

And in the face of lies and their malice
let us defend peace and truth:
And with them will come the good and justice.

Peace and Truth: Union

Truth in life is essential,
Truth is our need.
With truth we will have freedom,
and Peace will arrive wholesome and complete.

With truth, peace will be real and peace
will give us security, wholesome path to happiness.
Peace and Truth: vital union.

We must know truth delivers us from lies
and its betrayal and not let evil take its toll.
Peace and truth in our hearts will come
and give us good strength:
after crying, the song.

Praying in Hope

Jesus, in my soul I feel now
that You will come to save us from the one who lies.
In Your Love, I see and feel that Your bridge
leads us to the truth and to the dawn.

You give springtime to those who long for it:
for my thirst for You, You give me the spring
that your Permanent Presence flows in me,
with the Truth that saves and redeems.

You are, Jesus. Truth, Way and Life,
and I believe, Lord, for Thou sayest it,
Thou art the all-embracing Good.

May the Truth set the guidelines
and may lies be destroyed,
while You, Jesus Christ, bless us.

Living Word

Your Word is so living, Father
that it gives light to the meadows,
gives color to the flowers,
makes the roots fruitful,
enlivens the fire of love,
opens the way
to the steps that yearn for transcendence,
makes my verses sprout.

You, at each of our steps, You teach us
that everything here is born
from the fruitful root of Your Word.
Each day opens a dialogue with You.
I thank You
because Your Word
is daily news of Love:
and Love, day after day,
gives us news of the eternal.

When Faith Came to Dwell In Me

Question after question I asked myself
and, without an answer, I spoke with doubt,
always searching for the naked Truth,
that would illuminate my life.

Poetry came to lend a hand.
With it, Dear God, You gave me Your help.
The faith that does not make mute penetrated me,
that which turns tears into joy.

Faith is a gift, also a workout,
an indispensable and persistent effort
to which Your Love gives great benefit.

Faith entered to dwell my ardent soul,
which thirsted for You from the beginning,
and, wanting to feel You, already feels You.

“Gain a heart of wisdom” (Proverbs 4:23).

Laus in excelsis Deo.

Featured: The Last Judgment, detail, by Fra Angelico; painted ca. 1435-1440.

“My Humor comes from Pain and Love”

The accomplished humorist, Eduardo Aguirre Romero, author of the magnificent books, inter alia, Cine para caminar (Walking Cinema), Blues de Cervantes (Cervantes Blues); Cervantes, enigma del humor (Cervantes, The Enigma of Humor) prologued by the writer Víctor Fuentes, has just published his masterpiece, Entrevista a Cervantes (Interview with Cervantes), which is dedicated “with gratitude and affection to the memory of the architect Jesús Martínez del Cerro (1948—2022), builder of the two prototypes of the machine to detect false readers of Don Quixote.”

“Don Quixote opened the way to a more humanitarian comicality”

In this context, it should be emphasized that Eduardo Aguirre Romero, journalist at the Diario de León, offered a reading workshop in the León City Hall, entitled, “Don Quixote for the elderly,” and he promotes the language of sweet Spain, by way of his first-rate works, in which, to better understand the life and works of the “King of Spanish Literature, he gives special emphasis to the humor of Cervantes, a subject of capital importance but very little studied by scholars.

But, before continuing, it is important to add a word about Cervantes, enigma del humor (2017), in which Aguirre Romero (who is originally from Madrid and now based in León since 1985) clearly deduces that in Don Quixote, humor rhymes with both love and pain and states that Cervantes’ humor is a multifaceted one, as “it does not evade your reality; it helps you to interpret it” (Cervantes, enigma del humor).

The insightful wit of Aguirre Romero accurately detects that “in these uncertain times, Miguel de Cervantes still has a lot of light to offer us.” As well, he meditates on the origin of humor and comes to the conclusion that “the best thing would be to ask Cervantes himself” (Cervantes, enigma del humor).

Consequently, in his Entrevista a Cervantes, “a work in progress,” the Cervantes-enthusiast from León converses with the genius of Spanish literature, not only because the immortal Miguel is still alive but also because the interviewer wishes to give the biography of the glorious man of La Mancha, in order to learn about the trajectory of his enigmatic life. Therefore, Aguirre Romero brings Cervantes to life, in flesh and blood, gives him a voice with all the freedom of expression and opinion; and without disguising the truth, even if it is unpleasant, he gives a biographical sketch of the famous Alcalá native.

Regarding his economic situation, Miguel maintains that “I had good times… but in my last years, if it wasn’t for the Count of Lemos and the Archbishop of Toledo, I would end up in a corner with a monkey and a goat. Isn’t that poverty? I had it tattooed on me since childhood” (Cervantes, enigma del humor, 48).

“All that can be forgiven, and more. When the time comes”

When asked about the words of the Spanish writer, Miguel de Unamuno (1864-1936), who belonged to the “Generation of ’98″—”’Don Quixote is immensely superior to Cervantes,’ what do you think?” The peerless novelist answers that “He is worth more than me… and more than almost all of us, because he does not condense. And Sancho also condenses us. But read, read, for sure there is more material to cut” (Cervantes, enigma del humor, 50).

Referring to Avellaneda, Aguirre Romero asks, “Can that also be forgiven, that in addition to murdering the book, he defamed you in the prologue? He even bragged about wanting to take away your profit, besides making certain allusions to… your horns.” Miguel replies that “all that can be forgiven, and more. When the time comes” (Cervantes, enigma del humor, 57).

“Thank you, O Lord, for you have revealed these things to the simple and you have hidden them from the wise.”

Similarly, the journalist sheds light on the doubts surrounding the character of Cervantes, who does not mince words and confesses that “I was wounded in my self-love, many times. Battered, too. I was even tempted to give up… but I was never rancorous. Nor vindictive, except for a few blows in this prologue or in that sonnet, because we are not of the same mind” (Entrevista, 58); and further on he declares that “one can be very intelligent and not understand anything. In fact, it is often those who understand the least. There is a very beautiful phrase of Jesus: ‘Thank you, Lord, for you have revealed these things to the simple and hidden them from the wise'” (Entrevista, 64-65).

The humorist Aguirre Romero notes that “Cervantes was the first to combine with genius the dramatic and the comic; that laughter was more than laughter… and no one before had so united comedy with depth and compassionate tenderness, though Cervantes himself often ignores such potential… and to perceive it, he had to fall in love with his characters, to feel responsible for them… There is not a comic Quixote and a serious Quixote. It is a single book. That is the marvelous multifaceted condition of Cervantes’ humor. A single humor, with numerous registers” (Entrevista, 34-35).

However, the key question that the author poses to Cervantes is:

Aguirre: “Where does Cervantes’ humor come from? You were poor in fits and spurts, you were crippled in a battle, you were imprisoned for five years, you were jailed several times for alleged embezzlement, you got along badly with your daughter… in old age you had to ask for help to survive… With that biographical background, where did you get the vital forces to write the universal masterpiece of humor?”

Cervantes: “Precisely from there… from pain.”

Aguirre: “Does his humor come from pain?”

Cervantes: “From pain and love. When he had the worst time… he laughed. And not only that, he was capable of making others laugh… Only fools need to smile when things go well for them. [If they steal your humor, they will have defeated you (Entrevista, 65).

“My humor comes from pain and love”

In all honesty, Entrevista a Cervantes is a well of wisdom, where humor and truth emerge, which characterize the writing of Aguirre Romero, who always follows the proverb of Cebantes, that brilliant soldier of the Elite Special Forces of the Spanish Tercios Viejos: “Be brief in your reasoning, because no one is pleased if it is long;” and he hides “an ace up his sleeve: there is also pain and love hidden behind what—a priori—only seemed funny” (Entrevista, 34).

Before concluding, it is my great honor to congratulate not only Eduardo for his excellent work that carries much of him within it, but also for his proclamation of vital joy—and that of the believer—in a period of great economic concerns due to the crisis, from which he has not been spared, but also to Professor María Fernández Ferreiro, the editor of Entrevista a Cervantes, for her excellent series of books that she has gathered, and the extraordinary Grupo de Estudios Cervantinos (GREC) at the University of Vigo.

Without the slightest shadow of a doubt, this masterpiece of our admirable Eduardo Aguirre Romero, “dedicated to society hit by a long economic crisis and a crisis of values” (Entrevista, 37), which fills the heart with greater joy, has managed to combine the funny with the serious. The characters and themes are identified with those of Cervantes’ works, while the entire work stems from a healthy and wise humor, which captures the soul of the reader, and makes us better people.

All this proves that Entrevista a Cervantes is a flagship and this book belongs to the whole world. Congratulations!

Laus in excelsis Deo.

Krzysztof Sliwa is a professor, writer for Galatea, a journal of the Sociedad Cervantina de Esquivias, Spain, and a specialist in the life and works of Miguel de Cervantes Saavedra and the Spanish Golden Age Literature, all subjects on which he has written several books. He has also published numerous articles and reviews in English, German, Spanish and Polish, and is the Corresponding Member of the Royal Academy of Cordoba and Toledo.

Featured: Miguel de Cervantes, Gustave Doré; published in 1863.

Cervantes And The Bible

The impeccable wisdom of the Bible, a spiritual treasure for Miguel de Cervantes Saavedra, illumines not only his masterpieces and other established documents, but also shines through in the Topography and General History of Algiers (1612), published four years before the death of Cervantes, by Friar Diego de Haedo, Abbot of Frómista, of the Order of Saint Benedict, and edited by the first biographer of Cervantes, Doctor Antonio de Sosa, a native of Córdoba, a Benedictine priest, made captive but who managed to flee Algiers on July 13, 1581, only to vanish without trace. This biblical wisdom also illuminates the excellent work, El Quijote y la Biblia (Don Quixote and the Bible), by Professor Juan Antonio Monroy, to which Professor Alfonso Ropero Berzosa provides the Prologue.

In Don Quixote, Cervantes, the de facto leader of the Algerian captives, not only confesses his religious faith (“I respect and revere, like a Catholic and faithful Christian that I am,” Don Quixote, I-XIX) – but, three times in the Prologue to the first part of Don Quixote, calls Holy Scripture, “divine writing.” Throughout his various works, he alludes to thirty biblical characters and refers three-hundred times to the word of God, which he undoubtedly studied, while, among other things, being “an attendant in Rome” (“Dedication,” La Galatea) to Italian Cardinal Julio Acquaviva y Aragón (1546-1574), legate of the pontiff, Saint Píus V (1504-1572).

Here are some worthy examples of such biblical references: “the salutation which the great Master of heaven and earth taught his disciples and chosen ones when they entered any house was to say, ‘Peace be on this house’” (Don Quixote, I-XXXVII). In the Gospel, we read, “And into whatsoever house ye enter, first say, Peace be to this house’” (Luke 10: 5). Then, “gratitude that consists only of desire is a dead thing, as faith without works is dead” (Don Quixote, I-L). In the New Testament, “For as the body without the spirit is dead, so faith without works is dead also” (James 2:26). And, “I always pray to God to open my eyes of understanding that I might know how to serve Him” (Don Quixote, II-LIV). In the New Testament, “The eyes of your understanding being enlightened; that ye may know what is the hope of his calling, and what the riches of the glory of his inheritance in the saints” (Ephesians 1:18).

As for the power of prayer, I believe that Cervantes, the spy of the King of the greater Spanish realm in Algiers, Mostagán, Oran and Andalusia, and a man of prayer, pleaded ceaselessly with Jehovah and the Virgin Mary: “I believe in the Holy Trinity, God the Father, God the Son, and God the Holy Ghost, three distinct persons, and yet all three are one true God. and that, although God is the Father, and God is the Son, and God is the Holy Spirit, they are not three distinct and separate gods, but only one true God. Finally, I believe everything that the Holy Roman Catholic Church possesses and believes, governed by the Holy Spirit and ruled by the Supreme Pontiff, vicar and viceroy of God on earth, legitimate successor of St. Peter, her first pastor after Jesus Christ, first and universal pastor of His Bride the Church. He told me of the greatness of the Perpetual Virgin Mary, Queen of the Heaven and Lady of the angels and of ours, Treasure of the Father, Reliquary of the Son and Love of the Holy Spirit, the refuge and shelter of sinners” (The Persiles, I).

In January 1576, during his first escape from Algiers, that Hell of infidels and hotbed of spies, Cervantes traveled sixty leagues by land, according to Doctor Sosa (Topography, III:103). And according to the second slave, there were, “sixty leagues, from here to Oran” (The Treaty of Algiers, III). The fundamental root of his faith and his strength was to serve God and his country, and as he faced the severe tests of life, one of his constant prayers was, “I never walked with less eagerness, and, as I imagined, it was not very far to Oran! Thanks be to Thee, Divine King! O pure Virgin, I praise you! I implore you to work such strange charity that if you grant me freedom, I promise to be your slave” (The Treaty of Algiers, IV).

After his failure, Cervantes returned to Algiers to face his fierce master, Dalí Mamí, a renegade Greek and captain of the sea, and he prayed to the Virgin of Montserrat in this way: “Blessed and beautiful Virgin, remedy of mankind! Be the star to guide my wretched boat in this roiling sea and keep me safe from all dangers. Virgin of Monserrate, make Heaven of these harsh highlands. Rescue me, deliver me from this grief, for it is your attribute to extend the right hand to those fallen into misery. Most Blessed Mary, in this bitter moment, my body and soul I leave in your charge” (The Treaty of Algiers, IV). Likewise, I must emphasize that it was in Algiers that Cervantes was the prayers – the Lord’s Prayer, the Hail Mary, the Apostles’ Creed, and the Hail Holy Queen. For example, this dialogue from his play, Los baños de Argel II):

Juanico: Divine Love, by your leave, I will make amends. By my life, put aside this childish prattling, and let us go over those two prayers.
Francisquito: I have done the Hail Mary.
Juanico: And the Lord’s Prayer?
Francisquito: Likewise.
Juanico: And the Creed?
Francisquito: I have through it.
Juanico: And the Hail Queen?
Francisquito: Now the Hail Mary, you see what force it has.
Cadí: Well, my son, what do you understand?
Juanico: As you see, lord, by being buffeted, my brother understands.
Carahoja: He is but a child. Each according to his age.
Cadí: And what do you do?
Juanico: I pray.
Cadí: For who?
Juanico: For myself, as I am a sinner.
Cadí: That is all well and good. What kind of prayers do you say?
Juanico: Lord, the ones I know.
Francisquito: He replied well. He prayed the Hail Mary.
Francisquito: Are you troubled already? Now, if I might add, what will you do when you hear me say the Hail Queen of Heaven? To confound you, I know well that all the four prayers are shields against your scimitars.

Also, it should be noted that there are plenty of reasons to confirm that Cervantes, his friends and writers of Algiers, met to learn from Doctor Sosa about “Divine Scripture,” such as, the facts about King Nebuchadnezzar, the destruction of Babylon, the holy Patriarch Noah, as well as about Callimachus, Diagoras of Melos, Euhemerus of Agrigentum, Epicurus, Lucian, Ovid, Plutarch, and Protagoras” (Topography, II, 5). And they also visited the libraries and archives of Algiers, a literary treasure, where Cervantes studied the maps for his escape to La Montagne des Lions. Captain Jerónimo Ramírez, a native of Alcalá de Henares, and very good friend of the hero of Algiers, declares that “now, whenever I come here, I always find him busy with books.” And Sosa says, “In solitude such as this, and in an enclosure so separated from all talk and conversation in which my barbarian of a master indulges, what better occupation than reading the holy and good books?” (Topography, III: 1-2, 10-11, 15-16).

According to the document of October 21, 1580, Cervantes “was often engaged in composing verses in praise of Our Lord, His Blessed Mother, the Blessed Sacrament and other holy and devout things; and some mentioned this to Sosa and sent him these verses that he might to see for himself.” Moreover, Fernando, “the Prince of the Windmills” who said: “finish our festivities, cease our rejoicing, for the comedies of the captives always end in tragedy” (Los baños de Argel, III), also noted that the captives wrote and sang romances in secret. Here is an illustrative example:

Ambrose: Are there no people to hear us? Recite well, and so that all may come, let us begin sadly. We will recite that romance, Julio, which you composed, since we know it already, for we know it shortly, and it has that sad tone with which we are happy.

They sing this romance:

By the shores of the angry sea, that with its tongue and its waters, now mild, now angry, rolls into the walls of the dog Algiers. Four miserable captives, resting from work, look out to their homeland, with eyes full of longing. And to the sound of the coming and the going of the waves on the beach, with faint voices, they sing out this refrain: “How dear shall you be, O sweet Spain!

How Heaven has contrived our fate, with our bodies in chains, and our souls in dire peril. O, would the closed cataracts of Heaven open up, and instead of water, here rained down pitch, resin, sulfur and brimstone! O, would close-girt earth open up and let loose Dathan and Abiron with much wizardry and great magic!

How dear shall you be, O sweet Spain!

Nevertheless, Sosa did speak of the church of the Christians in Algiers, a fact that often lies forgotten by the biographers of Cervantes.

This church was located near “a large bath, 70-feet long and 40-feet wide, which is divided into upper and lower levels, with many little rooms, and in the middle a cistern of pure water. Below, to one side, is the church, or oratory, of the Christians, where the Blessed Lord is distributed in high and low and with many cliques and in the middle a cistern of beautiful water, and to one side below, is the church or oratory of the Christians, where the blessed Lord is, where masses are said throughout the year, and often at holy feast-days are solemnized with well-arranged Vespers that are sung, for there is never a shortage of captive priests, and they usually exceed forty in number, of every nation and quality, and even very many good lawyers, doctors and teachers, members of religious orders and clergy, and lay people, and where they also administer some sacraments, and where the word of the Lord is sometimes preached. And, by His grace, as there is never a lack of devout Christians, there is a great concourse of them, and those can, usually on Sundays and feast-days, hear Mass there. And on Easter they are usually so many that they cannot all fit, and it is necessary sometimes for the guards of the baths, Turks and Moors, not to let anyone in who does not first pay a gratuity, from which they make great profit. This large bath is the door of Babazón to that of Babaluete, and about 400 steps lead to the door of Babazón for the west” (Topography, I: 163).

Finally, based on the legal documentation and his literary testimonies, I am certain that Cervantes, defender of the Catholic faith, lived as a true and virtuous Christian because “honor and virtues are ornaments of the soul without which the body cannot be beautiful” (Don Quixote, I-XIV).

Laus in Exclesis Deo.

Krzysztof Sliwa is a professor, writer for Galatea, a journal of the Sociedad Cervantina de Esquivias, Spain, and a specialist in the life and works of Miguel de Cervantes Saavedra and the Spanish Golden Age Literature, all subjects on which he has written several books. He has also published numerous articles and reviews in English, German, Spanish and Polish, and is the Corresponding Member of the Royal Academy of Cordoba and Toledo.

The image shows a portrait of Cervantes, attributed to Juan Martínez de Jáuregui y Aguilar, and painted ca. 1600.

This article was translated from the Spanish by N. Dass.