Miguel de Cervantes Saavedra fue hijo de un cirujano itinerante.
Because at that moment of his life, Freud himself was living through a personal conflict between his dreams of carrying out some scientific feat and the demands of attending to his mundane necessities. For the penetrating description of the transition in Don Quixote from mania to depression. Because madness is presented as a complex phenomenon, but intelligible in terms of human motives. Another dialogue which was essential for Freud was that of Don Quixote and Sancho Panza, due to the following major reasons (as well as others): For the clear discrimination between reality and fantasy as well as their interplay. Basically, it is the psychotherapeutic model that Freud used with his own hysterical patients. These themes appear in a psychoanalytically structured dialogue in which one of the dogs, Berganza, tells his life story (in the form of catharsis) to the other dog, Cipión, with whom Freud identified himself. In this work, Cervantes delves in-depth into problems which he had set out in The Colloquy of the Dogs, read by Freud in his adolescence when he was learning Spanish and which confronted some of the great psychoanalytic themes such as reality-fantasy, language, instinct and reason, traumatic situations, 'family romance', etc. Don Quixote occupied a central place during a period which we consider to be crucial in the creation of psychoanalysis we refer to the summer of 1883 during which Freud confessed to Martha that he had become more interested in this book than in brain anatomy. Cervantes had a decisive influence on Freud. Our work is intended to recreate the origins of the 'future creator of psychoanalysis'.
This clinical quixotism is but a cervantine play (ludic quixotism) to lead us to a symbolic quixotism: agony after an ideal and trascendental values, and to a search for a project of heroic humanity, a road to liberty and to an illusion of an individual conscience sustained by mystery and by the miracle of a subjective perception of an imaginary world: in other words, of the eternal and immutable However, the boundary lines between fantasy and reality have no precise definition, and this is because Cervantes himself wished it so The literary fictions in the Quijote (fiction out of reality-reality out of fiction- fiction out of fiction) is a game played by the author to introduce an apparent lunatic who will not dicriminate between the limits of his reality (reality out of fiction) and the fictional in this own reading (fiction out of fiction). Indeed the Quijote leads into an extraordinary play of novelistic fiction. Cervantes induces us to re-examine the problem of reality vs.
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