101
«Montesinos' Cave...», pp. 451 and 465. (N. from the A.)
102
«Montesinos' Cave...», p. 456. (N. from the A.)
103
«Montesinos' Cave...», p. 460.103.1 (N. from the A.)
| 103.1 | In the original version of this article, this footnote appeared on p. 68. -FJ. (N. from the E.) | |
104
A plausible psychological explanation of this preference can be found in El Saffar's Beyond Fiction: The Recovery of the Feminine in the Novels of Cervantes (Berkeley: University of California Press, 1984), pp. 10-11. (N. from the A.)
105
This essay is based on a paper delivered at the Kentucky Foreign Language Conference, April, 1984. Some of the ideas expressed were presented at the inspiring National Endowment for the Humanities Seminar on Cervantes directed by Ruth El Saffar during the summer of 1982. I am grateful to Ruth El Saffar, Daniel Testa, and Constance Rose for commenting on the manuscript at various stages of its evolution. (N. from the A.)
106
The notion of theatricality is a broad one, and I have selected several features of Cervantes' picaresque that seem to me classifiable under this unifying metaphor or concept. A few modern critics have mentioned the theatrical quality of the Quijote; the first to my knowledge is Marthe Robert in L'Ancien et le nouveau. De Don Quichotte à Franz Kafka (Paris: Editions Bernard Grasset, 1963) who refers to the affinities of Don Quijote with the theater in its dramatic organization, the use of games and illusions, and (often) likeness to a spectacle (pp. 29 ff.). See also Karl-Ludwig Selig, «Concerning theatricality in Don Quijote: Some remarks», in Theatrum Europeaum, ed. Richard Brinkmann et al (Munich: Fink, 1982), pp. 27-33; and Juan José García, «Visión metadramática del Quijote», in Cervantes: Su obra y su mundo. Actas del I Congreso international sobre Cervantes, ed. Manuel Criado de Val (Madrid: EDI-6, 1981), pp. 509-13. As to theatricality and the picaresque, Edmond Cros in a recent article, «Ecriture Expressionniste et théâtralité dans le récit picaresque», Imprévue (1982-1983), 34-43, refers to the theatrical aesthetic of Guzmán de Alfarache in its use of rhetorical devices to affect the emotions of the destinataire, of course a very different theatricality to that of Cervantes. (N. from the A.)
107
Alison Weber, «Cuatro clases de narrativa picaresca», in La Picaresca: Orígenes, textos y estructuras, ed. Manuel Criado de Val (Madrid: Fundación Universitaria Española, 1979), pp. 13-18. (N. from the A.)
108
Peter Dunn, De / Reconstructs the Picaresque», Cervantes, 2 (1982), 109-31. See also the recent issue of Cervantes devoted to genre (Fall, 1986). (N. from the A.)
109
See Anthony Close, «Characterization and Dialogue in Cervantes' 'Comedias en prosa,'» MLR, 76 (April, 1981), 338-39. Avellaneda's reference is to the Novelas ejemplares, and not to the prose entremeses, although he does not specify which ones. In the same prologue, Avellaneda also twice refers to the Quijote as a comedia. On theatrical aspects of Rinconete y Cortadillo, see Américo Castro, El pensamiento de Cervantes (1925; Barcelona and Madrid: Editorial Noguer, 1972), pp. 232-33. (N. from the A.)
110
In assuming an early date of composition for Rinconete y Cortadillo, I follow Ruth El Saffar's chronology in From Novel to Romance: A Study of Cervantes' Novelas Ejemplares (Baltimore: Johns Hopkins Univ. Press, 1974). The dating of the entremeses also seems problematic. Eugenio Asensio, Itinerario del entremés (Madrid: Gredos, 1965), pp. 98-110, postulates that all were written between 1612 and 1615. See also J. Canavaggio, Cervantès dramaturge: une théâtre à naître (Paris: Presses Universitaries de France, 1977), pp. 23-24. (N. from the A.)