111
E. H. Gombrich, «The Cartoonist's Armour», Meditations on a Hobby Horse (London: Phaidon, 1963), p. 134.
112
In Ernst Kris, Psychoanalytic Explorations in Art (New York: International Presses, 1952), ch. 7.
113
See also E. C. Riley, Don Quixote (London: Allen & Unwin, 1968), pp. 128-9, 149 ff.
114
See, especially, Rosemond Tuve, Elizabethan and Metaphysical Imagery (Chicago: Univ. of Chicago Press, 1965), p. 80 ff. And Luisa López Grigera, «En torno a la descripción en prosa de los Siglos de Oro», Homenaje a José Manuel Blecua (Madrid: Gredos, 1983), pp. 347-57.
115
Io. Bapt. Portae Napolitani De hvmana Physiognomonia (Vidi Aequensis apud Josephum Cacchium, 1586); Jerónimo Conteras, Libro de phisonomia natural, y varios secretos de naturaleza (Alcalá de Henares: Juan Gracián, 1612). I am grateful to Karl-Ludwig Selig for his suggestions.
116
Ernst Kris, Psychoanalytic Explorations, p. 38.
117
In the year 1428, at certain courtly festivities organized in Valladolid by the king of Navarre, the Infante Enrique and King Juan II of Castile, an elaborate passage of arms called the «Fuerte Ventura» was devised. In the jousting which this involved it seems that the king of Navarre and his knights appeared disguised as windmills. «Was Don Quijote so demented after all?» asks Angus MacKay, «Ritual and Propaganda in fifteenth-century Castile», Past and Present 107 (1985), 37.
118
C. V. Aubrun, «Pour quelle raison déraisonna Don Quichotte», Homenaje a Joaquín Casalduero (Madrid: Gredos, 1972), pp. 37-44.
119
Márquez Villanueva, «La locura emblemática», p. 105.
120
The first references given in the Oxford English Dictionary are 1612 and 1622.