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Excerpt from Don Quixote, by Miguel de Cervantes Saavedra

PREFARATORY

It was with considerable reluctance that I abandoned in favour of the
present undertaking what had long been a favourite project: that of a
new edition of Shelton’s “Don Quixote,” which has now become a somewhat
scarce book. There are some—and I confess myself to be one—for whom
Shelton’s racy old version, with all its defects, has a charm that no
modern translation, however skilful or correct, could possess. Shelton
had the inestimable advantage of belonging to the same generation as
Cervantes; “Don Quixote” had to him a vitality that only a contemporary
could feel; it cost him no dramatic effort to see things as Cervantes
saw them; there is no anachronism in his language; he put the Spanish
of Cervantes into the English of Shakespeare. Shakespeare himself most
likely knew the book; he may have carried it home with him in his
saddle-bags to Stratford on one of his last journeys, and under the
mulberry tree at New Place joined hands with a kindred genius in its
pages.

But it was soon made plain to me that to hope for even a moderate
popularity for Shelton was vain. His fine old crusted English would, no
doubt, be relished by a minority, but it would be only by a minority.
His warmest admirers must admit that he is not a satisfactory
representative of Cervantes. His translation of the First Part was very
hastily made and was never revised by him. It has all the freshness and
vigour, but also a full measure of the faults, of a hasty production.
It is often very literal—barbarously literal frequently—but just as
often very loose. He had evidently a good colloquial knowledge of
Spanish, but apparently not much more. It never seems to occur to him
that the same translation of a word will not suit in every case.

Explanation ​

Detailed Explanation of the Excerpt from the Preface to Don Quixote (Translation by an Unnamed Editor) ​

This passage is from the preface of an unnamed 19th- or early 20th-century English translation of Don Quixote (likely the 1885 edition by John Ormsby, though it could also be from another translator like Samuel Putnam or Walter Starkie). The preface discusses the challenges of translating Cervantes’ masterpiece, particularly in relation to Thomas Shelton’s 17th-century translation—the first English version of Don Quixote (Part I in 1612, Part II in 1620).

The excerpt is not from Cervantes himself but from a later editor/translator who is justifying why they chose to create a new translation rather than reissuing Shelton’s older one. Below is a breakdown of its context, themes, literary devices, and significance, with a focus on the text itself.

1. Context of the Excerpt ​

  • Source & Purpose: This is part of a preface—a common feature in 19th-century translations where editors explained their methodological choices. The writer is defending their decision to abandon a planned reissue of Shelton’s translation in favor of a new one.
  • Historical Background:
    • Thomas Shelton’s Translation (1612, 1620): The first English version of Don Quixote, done quickly and with inconsistencies. Shelton was a contemporary of Cervantes and Shakespeare, giving his work an authentic Elizabethan/Jacobean flavor.
    • Later Translations: By the 19th century, Shelton’s version was seen as archaic and flawed, though some (like the preface’s author) still admired its vitality and historical charm.
    • Cervantes’ Original (1605, 1615): A satirical meta-novel that parodies chivalric romances while exploring madness, reality, and the power of literature.

2. Key Themes in the Excerpt ​

A. The Challenge of Translation ​

The preface grapples with the impossibility of perfect translation, highlighting:

  • Fidelity vs. Fluency: Shelton’s version is literal in some places, loose in others—a tension all translators face.
  • Historical Authenticity vs. Modern Readability: The author admires Shelton’s contemporary connection to Cervantes but acknowledges that his archaic language would alienate modern readers.
  • The Translator’s Subjectivity: The preface suggests that no translation can fully capture the original—each is an interpretation.

B. The Passage of Time & Literary Taste ​

  • Nostalgia for the Past: The author romanticizes Shelton’s version because it was done in the same era as Cervantes and Shakespeare, giving it a living, immediate quality.
  • The Inevitability of Change: Despite personal affection for Shelton, the author recognizes that literary tastes evolve, and older translations become inaccessible.

C. The Genius of Cervantes & His Contemporaries ​

  • Cervantes as a Universal Writer: The preface implies that Don Quixote transcends time, appealing to Shakespeare and modern readers alike.
  • The Idea of "Kindred Genius": The image of Shakespeare reading Don Quixote under a mulberry tree suggests a mythic connection between two literary giants, reinforcing the novel’s timelessness.

3. Literary Devices & Stylistic Choices ​

The preface is persuasive and reflective, using several rhetorical techniques:

A. Contrast & Juxtaposition ​

  • "racy old version" vs. "modern translation": Highlights the tension between historical charm and contemporary clarity.
  • "freshness and vigour" vs. "faults of a hasty production": Shelton’s work is both admirable and flawed.

B. Metaphor & Imagery ​

  • "fine old crusted English": Evokes aged wine or cheese—something rich but acquired in taste.
  • "carried it home in his saddle-bags": Paints a vivid, almost cinematic image of Shakespeare as a traveling reader.
  • "under the mulberry tree at New Place": A romanticized, pastoral scene, linking Shakespeare’s retirement with literary communion.

C. Appeal to Authority & Pathos ​

  • Shakespeare’s implied endorsement: By suggesting Shakespeare might have read Shelton’s translation, the author lends it prestige.
  • Personal Confession ("I confess myself to be one"): The author humanizes their argument, making it more relatable.

D. Parallelism & Repetition ​

  • "It is often very literal—barbarously literal frequently—but just as often very loose.": The repetition of "literal" and "loose" emphasizes Shelton’s inconsistency.
  • "He had evidently a good colloquial knowledge of Spanish, but apparently not much more.": The parallel structure underscores Shelton’s limitations.

4. Significance of the Passage ​

A. For Translation Studies ​

  • The excerpt illustrates the debates around translation—whether to preserve the original’s historical flavor or adapt it for modern audiences.
  • It shows how translators are interpreters, not just mechanical converters of language.

B. For Cervantes’ Legacy ​

  • The preface reinforces Don Quixote’s universal appeal, suggesting it speaks across centuries.
  • The connection to Shakespeare (even if speculative) elevates Cervantes’ status in English literature.

C. For Literary Criticism ​

  • The passage critiques Shelton’s translation while acknowledging its unique value, demonstrating how literary judgment is subjective.
  • It reflects 19th-century attitudes toward "classics"—a mix of reverence for the past and demand for accessibility.

5. Close Reading of Key Lines ​

"Shelton had the inestimable advantage of belonging to the same generation as Cervantes; ‘Don Quixote’ had to him a vitality that only a contemporary could feel; it cost him no dramatic effort to see things as Cervantes saw them."

  • "inestimable advantage": Suggests that temporal proximity gives Shelton an unmatchable authenticity.
  • "vitality that only a contemporary could feel": Implies that literary works are best understood in their own time.
  • "no dramatic effort": Translation, for Shelton, was natural, not forced—unlike later translators who must reconstruct a lost world.

"His warmest admirers must admit that he is not a satisfactory representative of Cervantes."

  • Concession: Even those who love Shelton’s version must acknowledge its flaws.
  • "not a satisfactory representative": Implies that a translation should embody the original’s spirit, not just its words.

"He put the Spanish of Cervantes into the English of Shakespeare."

  • Hyperbolic Praise: Links Shelton’s work to the greatest English writer, giving it cultural weight.
  • "Spanish of Cervantes" / "English of Shakespeare": A poetic parallel, suggesting two linguistic geniuses in dialogue.

6. Why This Matters for Don Quixote ​

  • Metafictional Layer: Just as Don Quixote is a book about books, this preface is a translation about translations—adding another layer of self-reflexivity.
  • Themes of Interpretation: The novel itself is about misreading and reinterpretation (Quixote misreads chivalric romances; readers misread Quixote). The preface extends this theme to translation.
  • Cultural Transmission: The passage highlights how great works are reshaped as they move across languages and eras.

7. Conclusion: The Preface as a Microcosm of Don Quixote’s Themes ​

This excerpt, though not part of Cervantes’ original text, embodies the novel’s central concerns:

  • The gap between ideal and reality (Shelton’s charm vs. his flaws).
  • The power and limitations of language (translation as both a bridge and a barrier).
  • The passage of time and changing perspectives (how literary works are received differently across centuries).

Ultimately, the preface mirrors Don Quixote’s own playfulness—it is self-aware, ironic, and deeply engaged with the act of interpretation, much like the novel it introduces.

Would you like a deeper dive into any specific aspect, such as Shelton’s translation style or how this preface compares to Cervantes’ own prologues?