Selecciona una palabra y presiona la tecla d para obtener su definición.
 

81

This is in keeping with Avalle-Arce's arguments that Cervantes was sensitive both to the literary aspect of suicide and to its ethical-religious implications, particularly in view of the Council of Trent, which emphatically condemned suicide (Nuevos deslindes cervantinos, [Barcelona, 1975], p. 104). In this context, Avalle-Arce is not altogether correct in stating that because of Tridentine teachings, the pastoral mode did not admit suicide after the first half of the sixteenth century (Ibid.). La Galatea certainly shows that the opposite is true, as do poems by Pedro Laínez (died 1584) and Francisco de Figueroa (1536-1617?), and an «Égloga» by Miguel Sánchez de Lima, where the shepherd Ergasto stabs himself in the chest (El arte poético en romance castellano [Alcalá de Henares, 1580], ed. Rafael de Balbín Lucas [Madrid, 1944], pp. 98-104). I owe this reference to Harold G. Jones, op. cit., pp. 91-92. (N. from the A.)

 

82

The appropriate passages are cited by Aubrey Bell, Cervantes (Norman, Oklahoma, 1947), p. 48, n. 20. (N. from the A.)

 

83

Los siete libros de la Diana, ed. Francisco López Estrada (Madrid, 1946), pp. 88-90. (N. from the A.)

 

84

James Stamm, «La Galatea y el concepto de género: un acercamiento», in Cervantes. Su obra y su mundo, ed. Manuel Criado de Val (Madrid, 1978), p. 342. (N. from the A.)

 

85

Samuel Gili Gaya, «Galatea o el perfecto y verdadero amor», in Miguel de Cervantes Saavedra. Homenaje de 'Insula' en el cuarto centenario de su nacimiento 1547-1947 (Madrid, 1947), p. 100. (N. from the A.)

 

86

Ibid., p. 103. (N. from the A.)

 

87

Barbara Mujica, «Antiutopian Elements in the Spanish Pastoral Novel», Kentucky Romance Quarterly, 26 (1979), 279. (N. from the A.)

 

88

See Dora Issacharoff, «Imágenes manieristas en La Galatea de Cervantes», in Cervantes. Su obra y su mundo. Manuel Criado de Val (Madrid: 1978), pp. 30-31. I synthesize here the useful comments made on this scene by Issacharoff. (N. from the A.)

 

89

Walter Friedlaender, Mannerism and Antimannerism in Italian Painting (New York, 1965), p. 50. (N. from the A.)

 

90

Annemarie Rahn-Gassert, op. cit., pp. 201-02.