Camacho's wedding

Camacho’s wedding

lavish feast prepared in vain, as Camacho’s fiancée runs off with her love just before the ceremony. [Span. Lit.: Cervantes Don Quixote]
See: Feast
References in periodicals archive ?
There are also concert performances of a real rarity, Mendelssohn's operetta Camacho's Wedding, a tale from the life of Don Quixote, in which Andrew Greenwood conducts and Donald Maxwell sings the Don.
In music, the popular Strauss Don Quixote is listed, as is Telemann's famous short opera about Camacho's wedding.
Their clue to the clash of myths was the lavish material circumstances and truly gargantuan scale of Camacho's wedding, in Part II, chapter 20, which they found all out of proportion to the rest of the novel.
There are, in the Quijote, some fifty such episodes as Camacho's wedding, and they have been freely exploited since the publication of the novel at the beginning of the seventeenth century.
Sancho remembers and misses the homes--the exceptional cases--where he and Don Quijote have eaten and slept well: Camacho's wedding with "la espuma que saque de las ollas" (II, 28; 865) and Basilio's and Don Diego's homes.
An extension of Teresa's and Sancho's use of the proverbial hen takes place when Sancho and Don Quijote carry out a dialogic "construction" of love and matrimony within the influence of Teresa's character zone, starting with the traveling companions' words and actions with respect to Camacho's wedding.
The scene of Camacho's wedding is initially permeated with carnival celebration Of renewal of life, and specifically in this episode, a feudal paternal decision is overcome by Basilio's persuasion and trickery which compensate for his lack of wealth.
Sancho, however, after the privations suffered on his journey with Don Quijote, is captivated by the quantity of food offered at Camacho's wedding.
In the carnival aspect of Camacho's wedding feast, domestic wealth is initially shown through Sancho's eyes by an abundance of renewing food, including the innumerable "liebres ya sin pellejo y las gallinas sin pluma que estaban colgadas por los arboles para sepultarlas en las ollas" (793).
However, in the development of Sancho's thought within the episode of Camacho's wedding, what becomes clear is that whether the man or the woman is the poorer of the two, is ultimately not Sancho's (or the carnival body's) principle concern when speaking of marriage and domesticity.