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The very old idea of U-topos as no-place is given a static interpretation in the Renaissance which correlates well to the form the idea assumes when put in writing: the genre of Thomas Moore or Campanella. U-topos as pure movement, however, might well be a new interpretation of the idea, one undertaken by the novelist in the Baroque. The contradictions deriving from such an interpretation may shed some light on the problem of the Persiles being at once Cervantes' ostensibly favorite creation and his most forgotten book. In spite of all the fascinating aspects of Don Quijote, it must be acknowledged that negativity, either because of irony or skepticism, pervades the great book, an ethical and aesthetic problem for an author who, knowing that his great invention (the novel) disposes of the old limitations of prose writing, wants to put that invention to the service of positive perfection from both the moral and aesthetic points of view. If the novel, however, escapes by its nature from the bounds of this classic concept of écriture, the Persiles is bound to fail either as a dynamic expression of U-topos or as a novel.
