121
Del Río 275. Theatrical companies of the time employed between eight and sixteen actors, according to N. D. Shergold, A History of the Spanish Stage (Oxford: Clarendon, 1967) 505, 510. The large number of roles in Cervantes' interludes may have been impractical for smaller companies, contributing to their perceived theatrical inadequacy. (N. from the A.)
122
Maria Grazia Profeti, «Condensación y desplazamiento: la comicidad y los géneros menores en el teatro español del Siglo de Oro», Los géneros menores en el teatro español del siglo de oro (Jornadas de Almagro 1987), ed. L. García Lorenzo (Madrid: Ministerio de Cultura, 1988) 33-46. (N. from the A.)
123
The intercalated novel, of course, is not a creation of Cervantes, but was employed in Guzmán de Alfarache and other works published prior to 1605. (N. from the A.)
124
Jauss, «The Poetic Text within the Change of Horizons of Reading», Toward an Aesthetic of Reception, trans. T. Bahti (Minneapolis: U of Minnesota P, 1982) 145. (N. from the A.)
125
See Henri Recoules, «Cervantes y Timoneda y los entremeses del siglo XVII», Boletín de la Biblioteca Menéndez y Pelayo 48 (1972): 231-91. (N. from the A.)
126
Alban K. Forcione, Cervantes and the Humanist Vision (Princeton: Princeton UP, 1982) 90-91. (N. from the A.)
127
El presente ensayo no existiría sin el generoso asesoramiento de los Doctores Jean Oury y Danièle Roulot que me han iniciado al universo riguroso de la esquizofrenia. A ellos, pues, el agradecimiento de quien les debe la luz. (N. del A.)
128
The last three paragraphs of this article are taken from «Errata», Cervantes 11.2 (1991), 111. -F.J.. (N. from the E.)
129
E. Gordon-Duff, «Notes on the hitherto undescribed First Edition of Shelton's translation of Don Quixote 1612-1620», London, privately printed, n.d. (1916). The copy I have consulted is that of the Huntington Library in California. Edwin B. Knowles, «The First and Second editions of Shelton's Don Quixote Part I: a Collation and Dating», Hispanic Review, IX [1941]: 252-265. (N. from the A.)
130
See the National Union Catalogue Pre-1956 Imprints, vol. 101,
526-527. Early bibliographers, not acquainted with the actual 1612 edition,
commonly considered the second edition with the engraved title as the first.
Gordon-Duff quotes Sidney Lee as incorrectly saying:
«the First Part was issued by Blount in an undated 8vo
-doubtless 1612- and he embellished it with a steel engraved frontispiece
depicting the Don and Sancho.»
(11) The Huntington Library has a copy of the 1612
to which is bound the engraved title of the second edition of Part I. This
copy, sold in 1916 by Lord Courtney through Gordon-Duff to Archer Huntington,
could have caused some of the confusion. We do not know which copy Gordon-Duff
saw of the 1620 Part II which enabled him to make his discovery of the ghost
image. (N. from the A.)