91
«The Pertinence of El curioso impertinente», PMLA 72 (1957), 591 ff. (N. from the A.)
92
Novel to Romance: A Study of Cervantes's «Novelas ejemplares» (Baltimore and London: The Johns Hopkins University Press, 1974), p. 81. (N. from the A.)
93
The phenomenon of descending and ascending trajectories in these tales is discussed by El Saffar in Cervantes: «El casamiento engañoso» and «El coloquio de los perros»: A Critical Study (London: Tamesis,1976), p. 38. Alban K. Forcione also points to this effect in Cervantes and the Mystery of Lawlessness (Princeton: Princeton University Press, 1984), pp. 102-03. (N. from the A.)
94
The technique of multiple layers or planes of commentary is also used toward the close of Book I of the Persiles, when several narrators are engaged in telling their life stories to a critical audience. (N. from the A.)
95
Mystery of Lawlessness, p. 37, emphasis Forcione's. (N. from the A.)
96
«The Narrator in Don Quijote: Maese Pedro's Puppet Show», MLN 80 (1965), 145-65. (N. from the A.)
97
«Montesinos' Cave and the Casamiento engañoso in the Development of Cervantes's Prose Fiction», KRQ 20 (1973), 451-67. (N. from the A.)
98
Forcione at one point appears to concur with El Saffar, observing that the Casamiento is an independent confession framing and containing a subordinate one (i. e., the core episode of Cañizares' revelations); he views the frame tale's elaborate set of imaginative correspondences as a link with the episode of the Toledan witch (135). At a later point he parts company with El Saffar, labeling the Casamiento a powerful counterforce to the narrative movement of the Coloquio, which he declares to be the more dominant of the two stories (146). (N. from the A.)
99
«Montesinos' Cave...», p. 464. (N. from the A.)
100
Forcione, disagreeing, prefers to interpret the Cave of Montesinos adventure as a parody of the romance conventions of anagnorisis, an ironic treatment of the descent and recognition themes of the romance tradition. These same conventions later reappear in the Coloquio during Berganza's strange encounter with the witch Cañizares (48-49). In Forcione's view, the theme of Don Quixote's descent into the cave is man's adversarial relationship with time and its consequences (e. g., mortality and decay). The Mad Hidalgo is confronted in his dream with the fact of man's inescapably transitory nature and the ultimate futility of his own dreams of immortality. The Coloquio, on the other hand, is said to deal with the moral theme of demonic powers in conflict with divine purposes (51-55). (N. from the A.)