111
See George Haley, «The Narrator in Don Quijote: Maese Pedro's Puppet Show», Critical Essays on Cervantes, ed. R. El Saffar (Boston: Hall, 1986) 94-110. (N. from the A.)
112
For
Castro (53), Cervantes
«no podía competir con el 'Monstruo de la
Naturaleza' no por deficiencia de fantasía, sino por carencia de lirismo
y exceso de ironía y de crítica.»
(N. from the A.)
113
See Stanislav Zimic, «La biografía satírica en La guarda cuidadosa de Cervantes», Segismundo XV (1981): 95-149 and Luciano García Lorenzo, «Experiencia vital y testimonio literario», Anales Cervantinos 1 (1951): 73-109. (N. from the A.)
114
Juan Luis Alborg, «La producción dramática de Cervantes» Historia de la literatura española, 4 vols. (Madrid: Gredos, 1967) 2: 71. (N. from the A.)
115
Both interludes may be found in Emilio Cotarelo y Mori's Colección de entremeses, loas, bailes, jácaras y mojigangas desde fines del siglo XVI a mediados del XVII, 2 vols. NBAE 17-18 (Madrid: 1911), the former on pp. 60-62, and the latter, pp. 62-65. (N. from the A.)
116
Benavente's retablo is only invisible to cuckolds, and simply in order to make them the butt of a funny joke, not to present cuckoldry as a social problem or to expose hypocrisy, as in Cervantes' version. It should be noted that Quiñones de Benavente (1593-1651) was not exactly a contemporary of Cervantes, having begun his writing career in his early 20's around the time of Cervantes' death. He is frequently credited with being a prolific writer of entremeses in a stylized verse form which often appeared to reduce the interlude to a sort of «commedia in embryo.» See Hannah E. Bergman, Luis Quiñones de Benavente (New York: Twayne, 1972) 14. (N. from the A.)
117
Asensio 84-85. (N. from the A.)
118
Asensio 101. (N. from the A.)
119
Amelia Agostini Bonelli de Del Río..., El teatro cómico de Cervantes» Boletín de la Real Academia Española 44 (1964): 277-78. (N. from the A.)
120
See Mauricio Molho's chapter «El retablo de las maravillas» in Cervantes: raíces folklóricas (Madrid: Gredos, 1976). (N. from the A.)