Selecciona una palabra y presiona la tecla d para obtener su definición.
 

61

More than by anyone else, modern punctuation was created by the great printer and scholar Aldus Manitius. (See «The Historical Development of Punctuation Marks», pp. 182-94 of the book of Partridge cited in n. 26, supra.) (N. from the A.)

 

62

See the comment of Cruickshank, «Textual Criticism», p. 34. Also on this question, see James Thorpe, Watching the Ps & Qs. Editorial Treatment of Accidentals (Lawrence: University of Kansas Libraries, 1971), especially pp. 19-21, who observes that «the editor will do best to spend only a modest amount of his time on accidentals -mainly a losing cause- and devote himself to substance» (p. 21). (N. from the A.)

 

63

See the comments of W. W. Greg in his classic article, «The Rationale of Copy-Text», first published in Studies in Bibliography, 3 (1950), 19-36; I have used the reprint in Bibliography and Textual Criticism (note 39, supra), pp. 41-58, in which these comments are found on p. 50. The address of A. E. Housman, «The Application of Thought to Textual Criticism», makes many of the same points, though the context is different (first published in Proceedings of the Classical Association, 18 [1921], 67-84; reprinted in Art and Error [note 19, supra]. pp. 1-16). (N. from the A.)

 

64

The latest such attack is by Santiago de los Mozos, «Enmiendas injustificadas en ediciones del Quijote», BRAE, 54 (1974), 105-22. (N. from the A.)

 

65

«It is not the function of an editor of Shakespeare simply to retain every reading in his copy text which can conceivably be regarded as acceptable» (Charlton Hinman, «Shakespearian Textual Studies», in Shakespeare 1971 [cited in note 3, supra], p. 49). This is, however, the approach of many Cervantine editors, such as Riquer, p. 273: «Aunque esta interpretación es un poco forzada y no da una solución perfecta, permite conservar la lectura de las ediciones primitivas», and p. 391: «Las ediciones modernas suelen empezar el epígrafe del presente capítulo con parte del que va al frente del siguiente... Ello está muy acertado, pero siempre es mejor respetar el texto de la primera edición, que revela estos detalles, que podrían ser descuidos, que hacen comprender el modo de trabajar de Cervantes» (italics mine). When everyone agrees that we are dealing with errors, then the logical step in preparing a more perfect text is to correct them, as, I believe, Cervantes would want us to do. Those scholars who wish to study the errors are already well-served by existing editions and by facsimiles. (N. from the A.)

 

66

See note 5 to my article cited above, in note 32; another example is found at II, 291, 5 of Rodríguez Marín's edition. (N. from the A.)

 

67

Rafael Lapesa, Historia de la lengua española, 9th edition (Madrid: Gredos, 1981), pp. 405-06. This topic is treated in depth by Francisco Marcos Marín, Estudios sobre el pronombre (Madrid: Gredos, 1978). (N. from the A.)

 

68

All modern editors in fact follow the second edition on occasion; see E. C. Riley's review of Murillo, Allen, and Avalle-Ance's editions, BHS, 57 (1980), 346-49, at p. 347. (N. from the A.)

 

69

All textual quotations, save the title page cited on p. 24, have been treated according to the principles described above as desirable for the «scholarly» edition; the only other place where Don Quixote can be read in a modern typeface but with the original consonants and punctuation is in the excerpts reproduced by Flores in «The Loss and Recovery of Sancho's Ass in Don Quixote, Part I», MLR, 75 (1980), 301-10. I would be glad to receive comment on the difficulty, or lack of it, which these unmodified accidentals caused the readers of this paper, as I intend to follow this format in my edition of Amadís de Grecia, to be published, Deo volente, by the Florida State University and University of Florida Presses. To my eye and ear the results are surprising, and pleasing. (N. from the A.)

 

70

Northrop Frye, in the The Secular Scripture (Cambridge, Massachusetts: The Harvard University Press, 1976), p. 188, makes eloquent use of the concept and the term «silence» as a way of ending his meditations on romance and his book. (N. from the A.)