Joaquín Casalduero, Sentido y forma de las «Novelas ejemplares» (Madrid: Gredos, 1962), p. 44. (N. from the A.)

Alfaro, p. 85. (N. from the A.)

In the Novelas ejemplares, ed. F. Rodríguez Marín, 2 vols. Clásicos Castellanos (Madrid: Espasa-Calpe, 1914-17), I, 224. (N. from the A.)

Carlos Blanco, passim; Molho, pp. 126-27. (N. from the A.)

Sentido y forma, p. 105. (N. from the A.)

Pp. 113-14. (N. from the A.)

Novelas, I, 146. (N. from the A.)

Barbara Hardy, «Preface», Tellers and Listeners: The Narrative Imagination (London: University of London Press, 1975); Stephen Crites, «The Narrative Quality of Experience» Journ. Am. Acad. Religion, 39 (1971), 291-311. (N. from the A.)

If this is the case, Cervantes will have been playing not only with the temporal order of events but with the order of significance. The Casamiento, which we first read in the printed order as a funny and bitter anecdote, would have to be re-read after the Coloquio, so as to grasp the alférez's intention in telling it. The events of the Casamiento precede the night of the dogs' conversation, but the experience of this overheard dream (?) / conversation is what moves Campuzano to tell his marriage story to a friend, face to face. The order of events, reconstructed from the order of telling, recasts the Casamiento into the confessional mode. (N. from the A.)

Molho, Introducción, p. 127. (N. from the A.)