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. But we also learn that Salieri wrote the music for "Don Chisciotto alle nozze de Gamace and that Joaquin Rodrigo wrote a symphonic poem on the theme of "Ausencias de Dulcinea." I tried to look up Boismortier's comic ballet from 1743, "Don Quichotte chez la duchesse," but it was not to be found, and understandably so.
In Don Quixote the monologue on the Golden Age (1.32) and Camacho's wedding (2.20) serve as the point of departure to examine how the ideology of utopian myth sustains the action in the two parts (1605 and 1615).
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.
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. In the course of the communication between the knight and his squire, love (idealized and/or materialized) becomes metaphorically aligned with the establishment, or not, of the necessary economic base for a happy domestic life, and thus with the carnival body.
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. Originally in favor of Basilio's physical prowess and the reciprocity of Quiteria and Basilio's love, he changes to Camacho's side because of the food his wealth provides, and switches to Teresa's argument of not attempting to rise in status through marriage to dispute Basilio's possibilities of marrying a richer Quiteria.
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.