One important distinction between the various translations is the title given to Don Quixote, written as “El Caballero de la Triste Figura” in the original Spanish. In an ideal world, one of the most significant aspects of Don Quixote’s character would be readily agreed upon. In reality, every translator has their own opinion on what Cervantes meant by “la Triste Figura” and their interpretation greatly impacts the reader’s mental image of Quixote. The Spanish “Figura” comes from Latin and literally means “Figure” but can also mean “Shape” or “Form.” The Spanish word “Triste” also comes from Latin, and can mean sad, sorrowful, and other like synonyms. Although this seems like a simple translation, there is still a lot of discrepancy between the different translations which could be due to the translators being accustomed to different linguistic word forms. In other words, a translator might interpret “Triste” in a different way because they are more accustomed to the Italian or French meaning of this word than the Spanish meaning.

Smollett and Ormsby agree on this point and describe Don Quixote as the “Knight of the Rueful Countenance.” Motteux translates this phrase as “Knight of the Woful Figure”, which has similar connotations to Jarvis’ “Knight of the Sorrowful Figure.” However, Shelton’s translation focuses more on the face than the figure of Don Quixote, describing him as the “Knight of the Ill-Favored Face.”

These interpretations are interesting in that they all give the reader a vastly different perspective on Quixote. Fairly early on in the book Quixote mistakes two herds of sheep as two large armies on the verge of combat. Despite the admonitions of his squire – Sancho – Quixote makes up an elaborate story for the engagement of the two armies and chooses a side. He then rushes into the “enemy” sheep herd, slaughtering several sheep and greatly angering the innocent shepherds, who begin pelting Quixote with stones to drive him away. As a result, Quixote loses several of his teeth, leading Sancho to give him his knightly title based on his new appearance. Shelton takes this situation into account and recognizes the sorrowful look that the loss of teeth must have given him, thus naming him “Knight of the Ill-Favored Face.” This translation seems to be the most accurate considering the situation and gives the reader a clearer view on the physical consequences of Quixote’s actions.

The word “countenance” diverges from the word “figure” or “face” in that it is more a way of being, or an expression, than a permanent physical attribute. Taking this into account, “Rueful Countenance” suggests that Don Quixote transmits an aura of sorrow, regret, and sadness, so much so that this has become a permanent way of being. This sorrowful state of his that lends him his name is most likely seen by others as a facial or bodily expression. Here it is implied that Quixote’s sorrowful look is not due to his physical attributes or the loss of teeth, but because of his emotional state. This interpretation could make sense considering Quixote’s insanity (and in much of the book Quixote is tortured by his love of the imaginary Dulcinea del Toboso, which gives him a mournful attitude), but the translator also needs to consider the situation that led to this title.

Motteux and Jarvis take a third approach, using “figure” instead of “countenance” or “face”. Sorrowful, rueful, and woeful can all be thought of as synonyms, but describing a person’s figure clearly has different connotations than describing their countenance or face (although some might consider “countenance” and “figure” to mean similar things). Figure describes a person’s bodily shape, but can also be thought of as the way a person chooses to portray themselves (either involuntarily or voluntarily, and this definition of “figure” is closely aligned to the definition of “countenance”). Either way, Motteux and Jarvis choose to describe Quixote as physically portraying sorrow in how he looks and holds himself.