Abstract
While Don Quixote in Sierra Morena is doing love penance for Dulcinea, SanchoPanza is routed to Toboso to give the beloved a letter by the knight (QuijoteI, 25). The squire knows already the true identity of the woman who inspireshis master’s acts, “la moza labradora” Aldonza Lorenzo. The fact that Sanchodid never get to Toboso, and therefore never sees the maid nor delivers any letter,issues in the subsequent description for his master of a series of degradinginventions about the identity of the young woman built by the farmer’s ruralimagery. This sets up a double-edged hyperbolic duel. Don Quixote is forced to match the images with which Sancho describes Aldonza-Dulcinea, that donot correspond to the ideal love with which he thinks of his beloved (QuijoteI, 30-31). Herein I will make an analysis of the persuasive resources each protagonistuses and of the semantic shock established out of the reference codes.Also, I will consider the impact of these events on the relationship betweenmaster and squire and the increasing degradation of the knight’s beloved image,all that due to Sancho Panza’s discursive power.
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