111
Los cuatro viajes del Almirante y el Testamento, edition Anzoátegui. (N. from the A.)
112
This citation is from the collection of Poesía, edition Blecua. (N. from the A.)
113
Zamora uses the example of Columbus and the woman's breast to point out the author's frequent use of gender difference to create a position of superiority in relation to the New World. (173-174). (N. from the A.)
114
This citation is from the edition of Galindo Romero. (N. from the A.)
115
As Auerbach points out in his famous essay on «The Enchanted Dulcinea», the key issue in this episode is the distinction between the woman's speech and Don Quijote and Sancho's exalted words for her (Auerbach, 339). Auerbach rightly interprets Don Quijote's praise of Dulcinea as part of the common discourse of chivalresque novels (including aspects of Platonic love, courtly love poetry, and Dante). Yet Auerbach significantly fails to recognize Cervantes' critique of Petrarchan convention in this scene. (N. from the A.)
116
Sancho's use of this sort of language in the blasón is in the tradition of the anti-blasón that becomes popular in the Renaissance. Shakespeare, for example, in Sonnet 130 speaks of the «black wires» on his lady's head and her «breath that... reeks»
(Shakespeare's Sonnets, edition Ingram and Redpath).
(N. from the A.)
117
The best criticism on Sor Juana's life and work includes Marie-Cécile Bénassy-Berling's Humanisme et religion chez Sor Juana Inés de la Cruz: La femme et la culture au XVIIe siècle, Frederick Luciani's The Courtly Love Tradition in the Poetry of Sor Juana Inés de la Cruz, Octavio Paz' Sor Juana Inés de la Cruz o las trampas de la fé and Georgina Sabàt de Rivers' Estudios de literatura hispanoamericana: Sor Juana Inés de la Cruz y otros poetas barrocos de la colonia. (N. from the A.)
118
«... a desire for her own political subjectivity»
: For a study of Sor Juana's political Petrarchism, see my dissertation, the Petrarchan Poetics of Sor Juana Inés de la Cruz.
(N. from the A.)
119
This citation is from the edition of Méndez Plancarte (see bibliography). (N. from the A.)
120
Lauren Silberman's «Singing Unsung Heroines: Androgynous Discourse in Book 3 of The Faerie Queene» has been helpful to me here. In the Faerie Queene, Spenser suggests that male Petrarchan poets «in their proper prayse too partiall bee»
( 3.2.1, edition J. C. Smith, as quoted in Silberman, 259). The poet's incomplete or «partial» praise of the beloved in her beauty results only in a «partial» or biased view of the poet himself (Silberman, 260).
(N. from the A.)