| Miguel de Cervantes | |
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| Born | Baptised 9 October 1547 (birth date unknown) Alcalá de Henares, Castile |
| Died | April 23, 1616 (aged 68) |
| Occupation | Novelist, poet, playwright, soldier |
| Language | Spanish |
| Nationality | Castilian |
| Notable work(s) | Don Quijote, Viaje del Parnaso, La Galatea |
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Miguel de Cervantes Saavedra[b] (Spanish pronunciation: [miˈɣel de θerˈβantes saˈβeðɾa]; baptised 9 October 1547; died 23 April 1616)[2] was a Spanish novelist, poet, and playwright. His magnum opus, Don Quixote, considered the first modern novel,[3] is a classic of Western literature, and is regarded amongst the best works of fiction ever written.[4] His influence on the Spanish language has been so great that the language is often called la lengua de Cervantes ("the language of Cervantes").[5] He was dubbed El Príncipe de los Ingenios ("The Prince of Wits").[6]
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was baptized in Alcalá de Henares on October 9, 1547, at the parish church of Santa María la Mayor. The baptismal act read:
Sunday, the ninth day of the month of October, the year of our Lord one thousand five hundred forty and seven years, Miguel is crowned and baptized, son of Rodrigo Cervantes and his wife doña Leonor. Baptized by the reverend sir Bartolomé Serrano, priest of Our Lady. Witnesses, Baltasar Vázquez, Sacristan, and I, who baptized him and signed this in my name. — Bachelor Serrano
His father was Rodrigo de Cervantes, a surgeon of Galician descent. At the time, a surgeon was not a medical doctor, but a lesser medical practitioner with no exact equivalent in modern English-speaking countries. His paternal grandfather, Juan de Cervantes, was an influential lawyer who held several administrative positions. His uncle was mayor of Cabra for many years. Little is known of his mother Leonor de Cortinas, except that she was a native of Arganda del Rey. His siblings were Andrés (1543), Andrea (1544), Luisa (1546), Rodrigo (1550), Magdalena (1554) and Juan - known solely because he is mentioned in his father's will.
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In, Cervantes moved to Rome, where he served as a valet to Giulio Acquaviva, a wealthy priest who was elevated to cardinal the next year. By then, Cervantes had enlisted as a soldier in a Spanish Navy infantry regiment and continued his military life until 1575, when he was captured by Algerian corsairs. He was then released on ransom from his captors by his parents and the Trinitarians, a Catholic religious order. He subsequently returned to his family in Madrid. so|Journey to Parnassus]] (Viaje al Parnaso) in 1614, and in 1615, the Ocho comedias y ocho entremeses and the second part of Don Quixote. Carlos Fuentes noted that, "Cervantes leaves open the pages of a book where the reader knows himself to be written."[7]
The reasons that forced Cervantes to leave Castile remain uncertain. Whether he was a "student" of the same name, a "sword-wielding fugitive from justice", or fleeing from a royal warrant of arrest, for having wounded a certain Antonio de Sigura in a duel, is another mystery.[8] In any event, in going to Italy, Cervantes was doing what many young Spanish of the time did to further their careers in one way or another. Rome would reveal to the young artist its ecclesiastic pomp, ritual, and majesty. In a city teeming with ruins Cervantes could focus his attention on Renaissance art, architecture, and poetry (knowledge of Italian literature is readily discernible in his own productions) and on rediscovering antiquity. He could find in the ancients "a powerful impetus to revive the contemporary world in light of its accomplishments".[9] Thus, Cervantes' continuing desire for Italy, as revealed in his later works, was in part a desire for a return to an earlier period of the Renaissance.[10]
By 1570, Cervantes had enlisted as a soldier in a regiment of the Spanish naval elite corps, Infantería de Marina, stationed in Naples, then a possession of the Spanish crown. He was there for about a year before he saw active service. In September 1571 Cervantes sailed on board the Marquesa, part of the galley fleet of the Holy League (a coalition of the Pope, Spain, the Republic of Venice, the Republic of Genoa, the Duchy of Savoy, the Knights Hospitaller based in Malta, and others, under the command of King Philip II's illegitimate half brother, John of Austria) that defeated the Ottoman fleet on October 7 in the Gulf of Lepanto near Corinth, at great cost to both sides. Though taken down with fever, Cervantes refused to stay below, and begged to be allowed to take part in the battle, saying that he would rather die for his God and his king than keep under cover. He fought bravely on board a vessel, and received three gunshot wounds – two in the chest, and one which rendered his left arm useless. In Journey to Parnassus he was to say that he "had lost the movement of the left hand for the glory of the right" (he was thinking of the success of the first part of Don Quixote). Cervantes always looked back on his conduct in the battle with pride: he believed that he had taken part in an event that would shape the course of European history.
| "What I cannot help taking amiss is that he[d] charges me with being old and one-handed, as if it had been in my power to keep time from passing over me, or as if the loss of my hand had been brought about in some tavern, and not on the grandest occasion the past or present has seen, or the future can hope to see. If my wounds have no beauty to the beholder's eye, they are, at least, honourable in the estimation of those who know where they were received; for the soldier shows to greater advantage dead in battle than alive in flight." |
After the Battle of Lepanto Cervantes remained in hospital for around six months, before his wounds were sufficiently healed to allow his joining the colors again.[11] From 1572 to 1575, based mainly in Naples, he continued his soldier's life: he participated in expeditions to Corfu and Navarino, and saw the fall of Tunis and La Goletta to the Turks in 1574.[12]
On 6 or 7 September 1575 Cervantes set sail on the galley Sol from Naples to Barcelona, with letters of commendation to the king from the Duke of Sessa.[13] On the morning of September 26, as the Sol approached the Catalan coast, it was attacked by Algerian corsairs under the command of the redoubtable Arnaut Mami, an Albanian renegade and terror of the narrow seas at that time.[14] After significant resistance, in which the captain and many crew members were killed, the surviving passengers were taken to Algiers as captives.[15] After five years spent as a slave in Algiers, and four unsuccessful escape attempts, he was ransomed by his parents and the Trinitarians and returned to his family in Madrid. Not surprisingly, this period of Cervantes' life supplied subject matter for several of his literary works, notably the Captive's tale in Don Quixote and the two plays set in Algiers – El Trato de Argel (The Treaty of Algiers) and Los Baños de Argel (The Baths of Algiers) – as well as episodes in a number of other writings, although never in straight autobiographical form.[16]
In Esquivias (Province of Toledo), on 12 December 1584, he married the much younger Catalina de Salazar y Palacios (Toledo, Esquivias –, 31 October 1626), daughter of Fernando de Salazar y Vozmediano and Catalina de Palacios. Her uncle Alonso de Quesada y Salazar is said to have inspired the character of Don Quixote. During the next 20 years Cervantes led a nomadic existence, working as a purchasing agent for the Spanish Armada and as a tax collector. He suffered a bankruptcy and was imprisoned at least twice (1597 and 1602) for irregularities in his accounts. Between 1596 and 1600, he lived primarily in Seville. In 1606, Cervantes settled in Madrid, where he remained for the rest of his life.
In 1585, Cervantes published his first major work, La Galatea, a pastoral romance, at the same time that some of his plays, now lost – except for El Trato de Argel (wherein he dealt with the life of Christian slaves in Algiers) and El Cerco de Numancia – were playing on the stages of Madrid. La Galatea received little contemporary notice; and Cervantes never wrote the continuation for it, which he repeatedly promised to do. Cervantes next turned his attention to drama, hoping to derive an income from that source, but the plays which he composed failed to achieve their purpose. Aside from his plays, his most ambitious work in verse was Viaje del Parnaso (1614) – an allegory which consisted largely of a rather tedious though good-natured review of contemporary poets. Cervantes himself realized that he was deficient in poetic talent.
If a remark which Cervantes himself makes in the prologue of Don Quixote is to be taken literally, the idea of the work (though hardly the writing of its First Part, as some have maintained) occurred to him in prison at Argamasilla de Alba in La Mancha. Cervantes' idea was to give a picture of real life and manners, and to express himself in clear language. The intrusion of everyday speech into a literary context was acclaimed by the reading public. The author stayed poor until 1605, when the first part of Don Quixote appeared. Although it did not make Cervantes rich, it brought him international appreciation as a man of letters.
The popularity of Don Quixote led to the publication of an unauthorized continuation of it by an unknown writer, who masqueraded under the name of Alonso Fernández de Avellaneda. Cervantes produced his own continuation, or Second Part, of Don Quixote, which made its appearance in 1615. He had promised the publication of a second part in 1613 in the foreword to the Novelas Ejemplares (Exemplary Novels), a year before the publication of Avellanda's book. Don Quixote has been regarded chiefly as a novel of purpose. It is stated again and again that he wrote it in order to satirize the romance of chivalry and to challenge the popularity of a form of literature that had been a favorite of the general public for more than a century.
Don Quixote certainly reveals much narrative power, considerable humor, a mastery of dialogue, and a forceful style. Of the two parts written by Cervantes, perhaps the first is the more popular with the general public – containing the famous episodes of the tilting at windmills, the attack on the flock of sheep, the vigil in the courtyard of the inn, and the episode with the barber and the shaving basin. The second part shows more constructive insight, better delineation of character, improved style, and more realism and probability in its action.
In 1613, he published a collection of tales, the Exemplary Novels, some of which had been written earlier. On the whole, the Exemplary Novels are worthy of the fame of Cervantes. The picaroon strain, already made familiar in Spain through the Picaresque novels of Lazarillo de Tormes and his successors, appears in one or another of them, especially in the Rinconete y Cortadillo. In 1614, he published the Viaje del Parnaso and in 1615, the Eight Comedies and Eight New Interludes. At the same time, Cervantes continued working on Los Trabajos de Persiles y Sigismunda, a novel of adventurous travel, completed just before his death, and appearing posthumously in January 1617.
Cervantes died in Madrid on April 23, 1616.[17] To honor the date that both Miguel de Cervantes and William Shakespeare died, UNESCO established April 23 as the International Day of the Book.[18] However, Shakespeare and Cervantes died on different days: Shakespeare on April 23, 1616 of the Julian calendar that was used in England and Cervantes April 23, 1616 of the Gregorian calendar that was used in Spain. Since the Gregorian calendar was ten days ahead of the Julian, Cervantes actually died ten days earlier than Shakespeare, whose date of death according to the Gregorian calendar was May 3, 1616.
The Encyclopedia Hispanica claims that the date widely quoted as Cervantes' date of death, April 23, is actually the date on his tombstone, a completely erroneous statement due to the fact that his actual grave is lost and there apparently is no tombstone. In accordance with the traditions of the time, this date would be the date of his burial rather than the date of his death.
Of his burial-place nothing is known, except that he was buried, in accordance with his will, in the neighboring convent of Trinitarian nuns. Isabel de Saavedra, Cervantes daughter, was supposedly a member of this convent. A few years afterwards the nuns moved to another convent and carried their dead with them. Whether the remains of Cervantes were included in the removal or not no one knows, and the clue to their final resting place is now lost.[19]
Don Quixote (spelled "Quijote" in modern Spanish) is two separate volumes now nearly always published as one, that cover the adventures of Don Quixote, also known as the knight or man of La Mancha, a hero who carries his enthusiasm and self-deception to unintentional and comic ends. On one level, Don Quixote works as a satire of the romances of chivalry, which ruled the literary environment of Cervantes' time. However, the novel also allows Cervantes to illuminate various aspects of human nature, by using the ridiculous example of the delusional Quixote. Because the novel, particularly the first part, was written in individually published sections, the composition includes several incongruities. Cervantes himself however pointed out some of these errors in the preface to the second part; but he disdained to correct them, because he conceived that they had been too severely condemned by his critics. Cervantes felt a passion for the vivid painting of character. Don Quixote is noble-minded, an enthusiastic admirer of everything good and great, yet having all these fine qualities accidentally blended with a relative kind of madness. He is paired with a character of opposite qualities, Sancho Panza, a man of low self-esteem, who is a compound of grossness and simplicity.
Don Quixote is cited as the first classic model of the modern romance or novel, and it has served as the prototype of the comic novel. The humorous situations are mostly burlesque, and it includes satire. Don Quixote is one of the Encyclopædia Britannica's Great Books of the Western World, and the Russian author Fyodor Dostoyevsky called it "the ultimate and most sublime work of human thinking".[20] It is also in "Don Quixote" that Miguel de Cervantes first coined the popular phrase "the proof of the pudding is in the eating" (por la muestra se conoce el paño), which still sees heavy use in the shortened form of "the proof is in the pudding", and "who walks much and reads much, knows much and sees much" (quien anda mucho y lee mucho, sabe mucho y ve mucho).
It would be scarcely possible to arrange the other works of Cervantes according to a critical judgment of their importance, for the merits of some consist in the admirable finish of the whole, while others exhibit the impress of genius in the invention, or some other individual feature. A distinguished place belongs to the Novelas Ejemplares[21] ("Moral or Instructive Tales"). They are unequal in merit as well as in character. Cervantes doubtless intended that they should be to Spanish nearly what the novellas of Boccaccio were to Italians. Some are mere anecdotes, some are romances in miniature, some are serious, some comic; all are written in a light, smooth, conversational style.
Four novelas are perhaps of less interest than the rest: El Amante Liberal, La Señora Cornelia, Las Dos Doncellas, and La Española Inglesa. The theme common to these is basically the traditional one of the Byzantine novel: pairs of lovers separated by lamentable and complicated happenings are finally reunited and find the happiness they have longed for. The heroines are all of most perfect beauty and of sublime morality; they and their lovers are capable of the highest sacrifices; and they exert their souls in the effort to elevate themselves to the ideal of moral and aristocratic distinction which illuminates their lives. In El Amante Liberal, to cite an example, the beautiful Leonisa and her lover Ricardo are carried off by Turkish pirates. Both fight against serious material and moral dangers. Ricardo conquers all obstacles, returns to his homeland with Leonisa, and is ready to renounce his passion and to hand Leonisa over to her former lover in an outburst of generosity; but Leonisa's preference naturally settles on Ricardo in the end.
Another group of "exemplary" novels is formed by La Fuerza de la Sangre, La Ilustre Fregona, La Gitanilla, and El Celoso Extremeño. The first three offer examples of love and adventure happily resolved, while the last unravels itself tragically. Its plot deals with the old Felipe Carrizales, who, after traveling widely and becoming rich in America, decides to marry, taking all the precautions necessary to forestall being deceived. He weds a very young girl – and isolates her from the world, by having her live in a house with no windows facing the street. But in spite of his defensive measures, a bold youth succeeds in penetrating the fortress of conjugal honour; and one day Carrizales surprises his wife in the arms of her seducer. Surprisingly enough he pardons the adulterers, recognizing that he is more to blame than they, and dies of sorrow over the grievous error he has committed. Cervantes here deviated from literary tradition, which demanded the death of the adulterers; but he transformed the punishment inspired, or rather required, by the social ideal of honour into a criticism of the responsibility of the individual. Rinconete y Cortadillo, El Casamiento Engañoso, El Licenciado Vidriera, and El Coloquio de los Perros, four works of art which are concerned more with the personalities of the characters who figure in them than with the subject matter, form the final group of these stories. The protagonists are, respectively, two young vagabonds, Rincón and Cortado, Lieutenant Campuzano, a student – Tomás Rodaja (who goes mad and believes himself to have been changed into a witty man of glass, offering Cervantes the opportunity to make profound observations) and finally two dogs, Cipión and Berganza, whose wandering existence serves to mirror the most varied aspects of Spanish life. El colloquio de los perros features even more sardonic observations on the Spanish society of the time.
Rinconete y Cortadillo is one of the most delightful of Cervantes' works. Its two young vagabonds come to Seville, attracted by the riches and disorder that the sixteenth-century commerce with the Americas had brought to that metropolis. There they come into contact with a brotherhood of thieves, the Thieves' Guild, led by the unforgettable Monipodio, whose house is the headquarters of the Sevillian underworld. Under the bright Andalusian sky, people and objects take form with the brilliance and subtle drama of a Velázquez. A distant and discreet irony endows the figures, insignificant in themselves, as they move within a ritual pomp that is in sharp contrast with their morally deflated lives. The solemn ritual of this band of ruffians is all the more comic for being presented in Cervantes' drily humorous style.
Cervantes finished the romance of Persiles and Sigismunda, shortly before his death. The language and composition of the story exhibit simplicity combined with precision. The idea of this romance was not new and Cervantes appears to imitate Heliodorus.[22] The work is a romantic description of travels, both by sea and land. Real and fabulous geography and history are mixed together; and in the second half of the romance the scene is transferred to Spain and Italy.
Professor Michael Nerlich, in his work "El Persiles descodificado o la Divina Comedia de Cervantes" (Hiperión 2005, 757 pages), details how the Persiles is "a historic-philosophical condenm of the counter-reformist Catholic Church and of the spanish monarchy, then aligned with the former (...)".
Nerlich explains that Cervantes used a easily decipherable code for the average reader in his time, in a way the Spanish Inquisition would not censor his work, as the reader would understand clearly his criticism, which would prove how it became instantly famous, yet misunderstood as years rolled by. Nerlich’s work, since published, has not been rebutted as yet.
Some of his poems are found in La Galatea. He also wrote Dos Canciones à la Armada Invencible. His best work however is found in the sonnets, particularly Al Túmulo del Rey Felipe en Sevilla. Among his most important poems, Canto de Calíope, Epístola a Mateo Vázquez, and the Viaje del Parnaso (Journey to Parnassus – 1614) stand out. The latter is his most ambitious work in verse, an allegory which consists largely of reviews of contemporary poets. Compared to his ability as a novelist, Cervantes is often considered a mediocre poet, although he himself always harbored a hope that he would be recognized for having poetic gifts.
The prose of the Galatea, which is in other respects so beautiful, is occasionally overloaded with epithet. Cervantes displays a totally different kind of poetic talent in the Viaje del Parnaso, a work which cannot properly be ranked in any particular class of literary composition, but which, next to Don Quixote, is considered by a few the most exquisite production of its author. Many critics, however, would argue with that, citing the Novelas Ejemplares and the Entemeses as the finest examples of his work next to Don Quixote.
Comparisons have diminished the reputation of his plays; but two of them (El Trato de Argel and La Numancia – 1582) made a big impact and were not surpassed until Lope de Vega appeared. The first of these, El Trato de Argel, is written in five acts. Based on his experiences as a captive of the Moors, the play deals with the life of Christian slaves in Algiers. The other play, Numancia, is a description of the siege of Numantia by the Romans. It is stuffed with horrors, and has been described as utterly devoid of the requisites of dramatic art. Cervantes's later production consists of 16 dramatic works, among which are eight full-length plays:
He also wrote eight short farces (entremeses) (1615):
These plays and entremeses made up Ocho Comedias y Ocho Entremeses Nuevos, Nunca Representados (Eight Comedies and Eight New Interludes, Never Before Acted) which appeared in 1615. Cervantes' entremeses, whose dates and order of composition are not known, must not have been performed in their time. Faithful to the spirit of Lope de Rueda, Cervantes endowed them with novelistic elements, such as simplified plot, the type of description normally associated with the novel, and character development. The dialogue is sensitive and agile. Cervantes includes some of his dramas among those productions with which he was himself most satisfied, and he seems to have regarded them with self-complacency in proportion to their neglect by the public. This conduct has sometimes been attributed to a spirit of contradiction and sometimes to vanity. That the penetrating and profound Cervantes should have so mistaken the limits of his dramatic talent would not be sufficiently accounted for had he not unquestionably proved by his tragedy of Numantia how pardonable was the self-deception of which he could not divest himself.
Cervantes was entitled to consider himself endowed with a genius for dramatic poetry; but he could not preserve his independence in the conflict that he had to maintain with the Spanish public, who required certain conditions of dramatic composition; and when he sacrificed his independence, and submitted to rules imposed by others, his invention and language were reduced to the level of a poet of inferior talent. The intrigues, adventures, and surprises, which in that age characterized the Spanish drama (and which, we may assume, characterize all drama in every age) were ill suited to the genius of Cervantes. His natural style was too profound and precise to be reconciled to fantastical ideas, expressed in irregular verse; but he was Spanish enough to be gratified with dramas which as a poet he could not imitate; and he imagined himself capable of imitating them, because he would have shone in another species of dramatic composition had the public taste accommodated itself to his genius.
This play is a dramatization of the long and brutal siege of the Celtiberian town Numantia, Hispania, by the Roman forces of Scipio Africanus. Cervantes invented, along with the subject of his piece, a peculiar style of tragic composition; and, in doing so, he did not pay much regard to the theory of Aristotle. His object was to produce a piece full of tragic situations, combined with the charm of the marvellous. In order to accomplish this goal, Cervantes relied heavily on allegory and on mythological elements. The tragedy is written in conformity with no rules, save those which the author prescribed for himself, for he felt no inclination to imitate the Greek forms. The play is divided into four acts, jornadas; and no chorus is introduced. The dialogue is sometimes in tercets, and sometimes in redondillas, and for the most part in octaves – without any regard to rule.
Cervantes' novel Don Quixote has had a tremendous influence on the development of prose fiction. It has been translated into all major languages and has appeared in 700 editions. The first translation was in English, made by Thomas Shelton in 1608, but not published until 1612. Shakespeare had evidently read Don Quixote, but it is most unlikely that Cervantes had ever heard of Shakespeare.
Carlos Fuentes raised the possibility that Cervantes and Shakespeare were the same person, in the sense that Homer, Dante, Defoe, Dickens, Balzac, and Joyce are all the same writer whose spirit wanders through the centuries.[23] Francis Carr, who is a noted promoter of conspiracy theories such as the one that Mozart was poisoned by his wife Constanze and a lover of hers,[24] took Fuentes' statement literally and suggested that Francis Bacon wrote Shakespeare's plays and Don Quixote, both claims which are considered ridiculous by mainstream scholars and critics.[25] Shelton renders some Spanish idioms into English so literally that they sound nonsensical when translated — as an example he always translates the word dedos as fingers, not realizing that dedos can also mean inches. (In the original Spanish, for instance, a phrase such as una altura de quince dedos, which makes perfect sense in Spanish, would mean fifteen inches high in English, but a translator who renders it too literally would translate it as fifteen fingers high.)
Don Quixote has been the subject of a variety of works in other fields of art, including operas by the Italian composer Giovanni Paisiello, the French Jules Massenet, and the Spanish Manuel de Falla, a Russian ballet by the Russian-German composer Ludwig Minkus, a tone poem by the German composer Richard Strauss, a German film (1933) directed by G. W. Pabst, a Soviet film (1957) directed by Grigori Kozintsev, a 1965 ballet (no relation to the one by Minkus) with choreography by George Balanchine, an American musical – Man of La Mancha (1965) – by Dale Wasserman, Mitch Leigh, and Joe Darion. which was made into a film in 1972, directed by Arthur Hiller, and a song by Brazilian tropicalia-pioneers Os Mutantes. Don Quixote's influence can be seen in the work of Smollett, Defoe, Fielding, and Sterne, as well as in the classic 19th-century novelists Scott, Dickens, Flaubert, Melville, Twain, and Dostoevsky, and in the 20th -century works of James Joyce, Giannina Braschi, and Jorge Luis Borges. The theme of the novel also inspired the 19th-century French artists Honoré Daumier and Gustave Doré.
The Euro coins of €0.10, €0.20, and €0.50 made for Spain bear the portrait and signature of Cervantes. The Biblioteca Virtual Miguel de Cervantes, a digital library, hosted by the university of Alicante, the largest digital archive of Spanish-language historical and literary works in the world, is named after Cervantes.
There is ongoing debate over Cervantes' family origins. While it was long assumed that Cervantes was an Old Christian, many modern scholars have suggested that he may have descended from a so-called converso background.[26]
Advocates of the New Christian theory, first set forth by Américo Castro, often suggest Cervantes' mother was a converso. The theory is almost exclusively supported by circumstantial evidence, but would explain some mysteries of Cervantes' life.[27] It has been supported by authors such as Anthony Cascardi and Canavaggio. Others, such as Claudio Sánchez-Albornoz (or Francisco Olmos Garcia, who considers it a "tired issue" and only supported by Américo Castro) reject the theory strongly.[28]
a. ^ The most reliable and accurate portrait of the writer to date is that provided by Cervantes himself in the Exemplary Novels (translated by Walter K. Kelly):[29]
| “ | This person whom you see here, with an oval visage, chestnut hair, smooth open forehead, lively eyes, a hooked but well-proportioned nose, and silvery beard that twenty years ago was golden, large moustaches, a small mouth, teeth not much to speak of, for he has but six, in bad condition and worse placed, no two of them corresponding to each other, a figure midway between the two extremes, neither tall nor short, a vivid complexion, rather fair than dark, somewhat stooped in the shoulders, and not very lightfooted: this, I say, is the author of Galatea, Don Quixote de la Mancha, The Journey to Parnassus, which he wrote in imitation of Cesare Caporali Perusino, and other works which are current among the public, and perhaps without the author's name. He is commonly called MIGUEL DE CERVANTES SAAVEDRA. | ” |
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— Miguel de Cervantes, Exemplary Novels (Author's Preface)
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b. ^ His signature spells Cerbantes with a b; but he is now known after the spelling Cervantes, used by the printers of his works. Saavedra was the surname of a distant relative. He adopted it as his second surname after his return from the Barbary Coast.[30] The earliest documents signed with Cervantes' two names, Cervantes Saavedra, appear several years after his repatriation. He began adding the second surname (Saavedra, a name that did not correspond to his immediate family) to his patronymic in 1586-1587 in official documents related to his marriage to Catalina de Salazar.[31]
c. ^ The only evidence is a statement by Professor Tomas González, that he once saw an old entry of the matriculation of a Miguel de Cervantes.[32] No subsequent scholar has been successful in verifying this statement. In any case, there were at least two other Miguels born about the middle of the century.
d. ^ "He" refers to the writer of a spurious Part II of Don Quixote (Second Volume of the Ingenious Gentleman Don Quixote of La Mancha) known under the pseudonym Alonso Fernández de Avellaneda. Avellaneda had referred to Cervantes as an "old and one-handed" man.