101
Anthony Close, Don Quixote, p. 52. (N. from the A.)
102
For Américo Castro's famous assessment of how Cervantes viewed «santos a la jineta», see Cervantes y los casticismos españoles (Madrid: Alianza Editorial, 1974), p. 141. Arguing in a similar vein, Márquez Villanueva («El Caballero del Verde Gabán», p. 168) seems to overstate his case, dis missively claiming that Cervantes views «santos a la jineta» simply as «cosa de risa». (N. from the A.)
103
On Cervantes' language of movement and motion, see Steven Hutchinson, Cervantine Journeys (Madison: University of Wisconsin Press, 1992). (N. from the A.)
104
Márquez Villanueva («El Caballero del Verde Gabán», p. 177, n. 46) views Doña Cristina as «una especie de mueble adquirido por don Diego para traer a su casa el máximo de orden y comodidad»
.
(N. from the A.)
105
I am most grateful to both Mary Gaylord and James Iffland for their comments on an earlier version of this essay. (N. from the A.)
106
This and all subsequent citations are from the Castálida edition. (N. from the A.)
107
Bembo, who considered Petrarch's vernacular style to be as good as classical poetry, is responsible for canonizing Petrarch's blasón in the lyric (Cropper 1976, 390). See Nancy Vickers'dissertation, Preface to the Blasons Anatomiques: The Poetic and Philosophic Contexts of Descriptions of the Female Body, for a history of the blasón in poetry. Elizabeth Cropper's «On Beautiful Women, Parmigianino, Petrarchismo, and the Vernacular Style» examines the uses of the poetic blasón in painting.
The finest general criticism of Petrarch's poetics includes Durling's introduction to the Rime, John Freccero's «The Fig Tree and the Laurel: Petrarch's Poetics», and Giuseppe Mazzotta's «The Canzoniere and the Language of the Self». (N. from the A.)
108
This citation is from the edition of Durling. (N. from the A.)
109
As Vickers 1982 points out, the Rime sparse, or «scattered rhyme», are Petrarch's scattering of the woman's body throughout the text (109). (N. from the A.)
110
In the fourteenth and fifteenth centuries, Petrarch's style was instrumental in the campaign for linguistic and national unity in Italy. In his Prose della volgar lingua (1525), Bembo establishes Tuscan as the appropriate vernacular style, emphasizing the «arcane» forms of Petrarch, Boccaccio and other authors of the trecento as important models (Migliorini, 211-213).
See Leonard Forster's The Icy Fire: Five Studies in European Petrarchism for a discussion of the international adoption of Petrarchism in the Renaissance. (N. from the A.)