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Don Quixote Mass Market Paperback – Abridged, Jun 3 2003

4.5 out of 5 stars 2 customer reviews

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Mass Market Paperback, Abridged, Jun 3 2003
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Harry Potter and the Cursed Child
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Product Details

  • Mass Market Paperback: 544 pages
  • Publisher: Signet Classics; Abridged edition (June 3 2003)
  • Language: English
  • ISBN-10: 0451528905
  • ISBN-13: 978-0451528902
  • Product Dimensions: 11.1 x 2.3 x 17.5 cm
  • Shipping Weight: 322 g
  • Average Customer Review: 4.5 out of 5 stars 2 customer reviews
  • Amazon Bestsellers Rank: #2,033,970 in Books (See Top 100 in Books)
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Product Description

Review

“What a unique monument is this book!...How its creative genius, critical, free and human, soars above its age!”—Thomas Mann --This text refers to an alternate Mass Market Paperback edition.

About the Author

Miguel De Cervantes Saavedra was born in Spain in 1547 to a family once proud and influential but now fallen on hard times. His father, a poor barber-surgeon, wandered up and down Spain in search of work. Educated as a child by the Jesuits in Seville, the creator of Don Quixote grew up to follow the career of a professional soldier. He was wounded at Lepanto in 1571, captured by the Turks in 1575, imprisoned for five years, and was finally rescued by the Trinitarian friars in 1580. On his return to Spain he found his family more impoverished than ever before. Supporting his mother, two sisters, and an illegitimate daughter, he settled down to a literary career and had hopes of becoming a successful playwright, but just then the youthful Lope de Vega entered triumphantly to transform the Spanish theatre by his genius. Galatea, a pastoral romance, was published in 1585, the year of Cervantes’ marriage to Catalina de Palacios y Salazar Vozmediano. But it did not bring him an escape from poverty, and he was forced to become a roving commissary for the Spanish armada. This venture, which led to bankruptcy and jail, lasted for fifteen years. Although he never knew prosperity, Cervantes did gain a measure of fame during his lifetime, and Don Quixote and Sancho Panza were known all over the world. Part I of Don Quixote was published in 1605; in 1613, his Exemplary Novels appeared, and these picaresque tales of romantic adventure gained immediate popularity. Journey to Parnassas, a satirical review of his fellow Spanish poets, appeared in 1614, and Part II of Don Quixote in 1615 as well as Eight Plays and Eight Interludes. Miguel de Cervantes died on April 23, 1616, the same day as the death of Shakespeare--his English contemporary, his only peer.


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Format: Mass Market Paperback
Don Quixote (abridged) is a great piece of Spanish literature. It is chok full of comical escapades and satire. It is not a book that will not leave you holding on, trying to survive through the boring parts. It starts out, with a hook, and draws you deeper and deeper into the undefined plot. I defiantly enjoyed it, and laughed at the many stupid predicaments the knight fell into. It is a definite must read in my book!
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Format: Mass Market Paperback
Don Quixote was a very good book to read. The whole book is very funny and some of the things that Cervantes has Don Quixote do are very entertaining. I would recommend this book to anyone interested in kinght erranty because this is a very good example of what not to do.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: HASH(0xa6725708) out of 5 stars 1,061 reviews
1,155 of 1,187 people found the following review helpful
HASH(0xa6b55510) out of 5 stars Which New Translation to Choose? March 22 2005
By Philip Haldeman - Published on Amazon.com
Format: Hardcover
Edith Grossman's is the hot new translation, but there may be a tendency to confer too much praise on a fresh reading. From what I have sampled, I have no doubt of Grossman's excellence, but this is not the "definitive" DQ (no one's is), and frankly, after some comparison of the early chapters, I've decided to spend my time with Burton Raffel's translation, now only a decade old. Raffel sometimes opts for a colloquial word or two, but it's never jarring, and his overall style seems not only less pretentious to me than Grossman's, but a superior combination of a modern reading with a traditional "tone." Tone and style are important, and Raffel sometimes makes Grossman seem too abstract or fussy, though this is difficult to describe. Raffel's phrasing is more focused and vigorous than Grossman's--though both are said to be accurate. Let me offer a couple of examples that shifted me toward Raffel:

Grossman:

"Some claim that his family name was Quixada, or Quexada, for there is a certain amount of disagreement among the authors who write of this matter, although reliable conjecture seems to indicate that his name was Quexana. But this does not matter very much to our story; in its telling there is absolutely no deviation from the truth."

Raffel:

"It's said his family name was Quijada, or maybe Quesada: there's some disagreement among the writers who've discussed the matter. But more than likely his name was really Quejana. Not that this makes much difference in our story; it's just important to tell things as faithfully as you can."

(Notice how Raffel makes immediately clear in the last sentence what Grossman so literally translates.)

Grossman:

"His fantasy filled with everything he had read in his books, enchantments as well as combats, battles, challenges, wounds, courtings, loves, torments, and other impossible foolishness, and he became so convinced in his imagination of the truth of all the countless grandiloquent and false inventions he read that for him no history in the world was truer. He would say that El Cid Ruy Diaz had been a very good knight but could not compare to Amadis, the Knight of the Blazing Sword, who with a single backstroke cut two ferocious and colossal giants in half."

Raffel:

"He filled his imagination full to bursting with everything he read in his books, from witchcraft to duels, battles, challenges, wounds, flirtations, love affairs, anguish, and impossible foolishness, packing it all so firmly into his head that these sensational schemes and dreams became the literal truth and, as far as he was concerned, there were no more certain histories anywhere on earth. He'd explain that Cid Ruy Diaz had been a very good knight, but simply couldn't be compared to the Knight of the Flaming Sword, who with one backhand stroke had cut in half two huge, fierce giants."

Notice that Grossman is rather fussy-sounding in the phrase: "countless grandiloquent and false inventions he read that for him no history in the world was truer." Compare with Raffel, who always seems to solve little problems like this with charm, precision, and even a little wry swagger that's so appropriate to Cervantes' intent. So my advice is to seek out both of these new translations and spend a little time with each before deciding. Don't take others' opinions that Grossman's has superseded Raffel's. Grossman avoids some of the more colloquial English one may find in Raffel, and this may please snobs, but the accuracy of Raffel's translation is not in question, and overall he seems to me to have done the best job.
491 of 510 people found the following review helpful
HASH(0xa6b55564) out of 5 stars Faulkner's Favorite Nov. 3 2003
By A Customer - Published on Amazon.com
Format: Hardcover
Faulkner said Don Quixote was his favorite book and that, along with The Bible, he dipped into it yearly. I'm not sure what Cervantes would have made of some of Faulkner's more troublesome work, but the world has designated Don Quixote the Father of the Modern Novel and perhaps the greatest novel ever. I'm a fan of this book and a habitual (some would say neurotic) comparer of translations. Since I don't read of speak Spanish, I have to rely on the English translations that have been published. There are three that are worthwhile: Ormsby's, Samuel Putnam's and now Edith Grossman's. Grossman, who is the translator of Garcia Marquez's books into English, has produced a translation that's contemporary and authentic--somehow, not an oxymoron. It has a fresher feel than Putnam's (the translation Nabokov used when teaching the book), though I wouldn't say it supplants Putnam. If you're looking for a copy of Don Quixote in English, Grossman's translation is a good first choice. She manages to maintain the feel of the language Cervantes wrote in (as far as I can tell) yet her translation, as the NY Times reviewer noted, is as readable as the latest novel from Philip Roth. You can't go wrong with Putnam or Grossman, but on this one, I have to give the nod to Grossman.
258 of 276 people found the following review helpful
HASH(0xa6b55738) out of 5 stars Quintessential Masterpiece of European Literature Nov. 2 2003
By Adam Dukovich - Published on Amazon.com
Format: Hardcover
I have read this book both in English and Spanish, and I can honestly say that it loses very little of its power, wit or message in translation. For all those who have considered reading this book, here are a few good reasons: this book is a very nuanced look at escapism and identity, a wonderful parody of knight stories, along with being a rousing (and very funny) adventure centering around the titular hero, a man who reads one too many books about knighthood and chivalry and decides to become a knight-errant himself. After recruiting a sidekick and choosing a lady to woo per narrative convention, he sets out to conquer the forces of evil, which include, among other things, giant windmills and rogue "knights". Cervantes' insight and ability to parody were both ahead of his time, and in a time where escapism and voyeurism are well and thriving, it is not difficult to imagine someone watching too many TV shows and believing they're a wild west outlaw or what-have-you. A very fascinating experience, and it works well in any language. Highly recommended.
175 of 189 people found the following review helpful
HASH(0xa6b55d5c) out of 5 stars An excellent edition of this classic. Jan. 21 2003
By Daryl Anderson - Published on Amazon.com
Format: Hardcover Verified Purchase
Note: Amazon.com seems to have a hard time linking reviews to specific editions - it makes a difference. This review is of the Modern Library edition, ISBN-0679602860, translated by Samuel Putnam. I am reposting it, hoping it will link correctly this time).
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When you approach reading (or rereading) a "classic" work you really, mostly, don't have to think about whether to read it -- that decision was either made by someone assigning it to you or, more wonderfully, by you, yourself deciding to swim contra-current against the cultural waters... following Neil Young's advice to "turn off that MTV."
So. You are going to read it. And, if you are paddling the Amazon.com, here, you are going to buy and OWN it. The question really becomes which edition you should own.
This is the one.
Its a fine translation - surprising in its avoidance of archaic language. It has a nice structure - the inevitable notes are available but not obtrusive.
This edition, the Modern Library hardback edition, translated by Putnam, is also a nice book to own. It isn't one of those pretty faux-leather "shelf-candy" copies that'll break your wallet first. This is a hardworking book - the essence of the Modern Library idea. But it is a wonderful packaging of the whole 1000+ pages that is both readable and shelvable. No thousand-page paperback will survive an actual reading as anything you would want excepting as backup next to the latrine.
Did I mention that it is a great book, great story? Well, others over the years have managed that :-). But I will loudly agree. I'm rereading it only now after a 35 year hiatus (yes, indeed, classics can be lost on the young - thats why you want books that last. In 35 more years, when you turn your lance back toward targets you thought you left behind, a copy will cost you [a lot of money]). It is just plain startling in its innovations and story. I always thought Bruce Willis and Cybil Shepard were the first to break down that "third wall" and talk to the audience - yet here is Cervantes doing so five centuries back ! Wow.
Even if you've been made to buy it and to read it, buy a nice copy. Read the "Cliff notes" if you must, but someday you'll be a crazy old coot like Don Q. (or me) and want to toss something more meaningful than Palahniuk (or even Rushdie) at the cobwebs that cling.
41 of 41 people found the following review helpful
HASH(0xa6b55d08) out of 5 stars Arguably the best all-around translation of the best novel Sept. 5 2013
By Penn Naime - Published on Amazon.com
Format: Paperback
This review is for the Norton Critical Edition published in 1981, edited by Jones and Douglas.

Two modern translations of Don Quixote, those by Raffel (the newer Norton Critical Edition) and Grossman (the perennial bestseller), seem to dominate the market right now. I suspect I am not alone in being annoyed by Raffel's overzealous attempts to modernize the book and Grossman's stubborn refusal to use common words whenever possible. If you are looking for a compromise between the two, this is an excellent candidate.

This is a revision of the 1885 translation by Ormsby, who produced arguably the most accurate English translation of the book. The editors updated some of the language and added copious footnotes. The text reads very well, almost as well as Raffel's version, but also retains some of the features of the novel that have been lost in modern translations. Notably, Don Quixote takes great pleasure in using outdated language (e.g., "thou," "giveth"), even though the ordinary people he encounters don't understand his speeches. More recent translations have largely done away with this, simply conveying Don Quixote as being long-winded and overly descriptive, and always being met with dumbfounded reactions. Here you truly experience Don Quixote speaking like someone from a different generation than the rest of the characters.

Where Raffel translates Don Quixote's nickname as "the Knight of the Sad Face" and Grossman uses "the Knight of the Sorrowful Face," this edition uses the classic "Knight of the Mournful Countenance." Maybe not such a big deal, but it strikes me as disingenuous to use the emoticon-like "sad face" to describe what Sancho meant to refer to Don Quixote's worn-out, gaunt appearance.

Out of the translations I've read, this one contains none of the encumbrances I've found in Raffel (oversimplified), Grossman (pretentious), Smollett (archaic), Rutherford (reliant on British slang), Putnam (tastes like the 1950s), Montgomery (riddled with errors), Motteux (censored) or Lathrop (not as evocative). (I have yet to read Starkie's version.)

This is the edition of my favorite novel that I will always turn to, and I recommend it without hesitation. In my opinion, although Raffel has made the text more accessible, and Grossman has made it more artsy, the crown still belongs to the older Norton Edition for a wonderfully executed balancing act of accuracy and emotion.


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