A large number of Spanish folk songs reflect the anxiety that peasant girls (morenas) feel because of their dark complexion. See Bruce W. Wardropper, «Meaning in Medieval Spanish Folk Songs», in The Interpretation of Medieval Lyric Poetry, ed. W. T. H. Jackson (New York: Columbia University Press, 1980), pp. 176-93. (N. from the A.)

In Quevedo's Las zahurdas de Plutón, the narrator sees Judas «sin cara». «No sabré decir sino que me sacó de la duda de ser barbirrojo, como le pintan los extranjeros por hacerle español, porque él me pareció capón» (Sueños, ed. Julio Cejador y Frauca [Madrid: Espasa-Calpe, 1949], pp. 141-42). In Tirso de Molina, El vergonzoso en Palacio (Madrid: Espasa-Calpe, 1932), p. 19 appear the lines: «tenéis el cabello rubio, / no hay que fiar dese pelo»; Américo Castro's long note to these lines abundantly establishes the tradition associating the barba rubia with Judas and other traitors.

Lerner's explanation of the different reaction of the sexes to the Jordan water is inadequate: «La sabiduría popular que calificaba de rejuvenecedoras a estas aguas tiene sus límites en el conocimiento de Juana: seguramente resfriarán a su padre» (p. 51). Molho advances the more acceptable but ultimately unprovable hypothesis that the rejuvenating rain has a male sexual charge; it is a «lluvia espermática» (p. 209). (N. from the A.)

It is now clear that Cervantes introduced Herodias into his play rather than Salome because his theme of treachery required the agent of the betrayal rather than her accomplice to illustrate it. See note 19 above. (N. from the A.)

«L'hallucination collective à laquelle mène finalement la superstition raciste de ses paysans est comme la transposition théâtrale et symbolique d'une hallucination sociale réelle qu'il [Cervantes] pouvait constater tous les jours et dont, espirit lucide et non mystifié, il semble avoir dénoncé ailleurs les expressions juridiques et les préjugés». (Noël Salomon, Recherches sur le thème paysan dans la «comedia» au temps de Lope de Vega [Bordeaux: Féret, 1965], p. 121.) (N. from the A.)

Novelas ejemplares, ed. Harry Sieber (Madrid: Cátedra, 1980), I, 311. Salomon, loc. cit., notes the relevance of this passage to the entremés. (N. from the A.)

Some readers may object to my reading of the sense of the retable on the grounds that it ignores the presence in it of the bull, the mice, the lions, and the bears. Indeed, I do not think that the animals contribute to the theme of treachery. I am inclined to accept Molho's interpretation of them as symbolizing male aggression (pp. 206-10). (N. from the A.)

A. F. Lambert gives an excellent review of the ideological polemic which has characterized criticism on El celoso extremeño over the years («The Two Versions of Cervantes' 'El celoso extremeño,'» BHS, 57 [1980], 219-31). Lambert eloquently argues that moral intentionalism cannot take into consideration the variety of tones and the complexity of Cervantes' approach to conflicting moral codes: «Cervantes is letting go of the reader's hand to push him into a world where unproblematic readings do not work and ready-made moral schemes are not entirely adequate» (p. 230). I would add that a concern with the author's placement of blame, which preoccupies so much of the criticism, is inappropriate because Cervantes is concerned not with assigning blame, but with exploring guilt.

Although there is no extensive psychoanalytic criticism on the story, two studies should be mentioned forthwith. Ruth El Saffar's chapter in Novel to Romance: A Study of Cervantes's «Novelas ejemplares» (Baltimore: Johns Hopkins Univ. Press, 1974) is indispensable, and I am in agreement with her description of Carrizales' «solipsism» and his eventual escape from it. Louis Combet's comments, dispersed throughout his book-length «structural psychocriticism» of Cervantes, lack contextual coherence and, I feel, are distorted because they are subordinated to Combet's larger thesis of Cervantes' overwhelming masochism (Cervantès ou les incertitudes du désir [Lyon: Presses Universitaires de Lyon, 1980]). I hope to show that the story represents an ego achievement of sorts -a movement away from the defenses against guilt. For the new directions in contemporary psychoanalytic criticism, see Murray Schwartz, «Shakespeare through Contemporary Psychoanalysis», in Representing Shakespeare: New Psychoanalytic Essays, ed. Murray Schwartz and Coppelia Kahn (Baltimore: Johns Hopkins Univ, Press, 1980), pp. 21-32. (N. from the A.)

For the sources, see Agustín Amezúa y Mayo, Cervantes, creador de la novela corta española (Madrid: CSIC, 1958), II, 234-42; Georges Cirot, «Gloses sur les maris jalous de Cervantès», «'El celoso extremeño' et 'L'Histoire de Floire et de Blanceflor'» and «Encore les maris jaloux de Cervantès», BH, 31 (1929), 1-74, 138-43, 339-46; Dominic Rotunda, «More Light on an Old Motif in the Works of Cervantes», MP, 48 (1950), 86-89; and Stanislav Zimic, «Bandello y 'El viejo celoso,'» Hispano No. 31 (1967), 29-41. (N. from the A.)

See Frederick Crews' observations on the significance of a fixed genre as a «coded assurance that psychic activity will be patterned and resolved along familiar lines; the genre itself is a ready-made countercathected system. For this very reason, however, art that strives for originality is always restless within its formal borders and frequently generates new forms..». («Anaesthetic Criticism», in Psychoanalysis and Literary Process, ed. Frederick Crews [Cambridge: Winthrop, 1970], pp. 20-21).

This is not the first cuckold's tale which ends with the death of the husband. In the Decameron II, 10 and in Streparola's Le Piacevoli Notti IV, 4, the dejected husbands die of grief. But it is clear that the tone of both stories is comic rather than pathetic. I would stress that Cervantes' originality lies not in a twist of plot, but in a shift in affect. As A. F. Lambert has observed, the poignancy of the ending of the story is brought about by «The readers transformed perception of Carrizales, as much as by the transformation in Carrizales himself» (p. 228, my emphasis). (N. from the A.)

Jekels, «On the Psychology of Comedy», in Selected Papers of Ludwig Jekels (New York: International Universities Press, 1952), pp. 97-104. Mauron, Psychocritique du genre comique (Paris: Jose Corti, 1964). (N. from the A.)