The only Cervantist who to my knowledge has defended the consonancia of La Galatea is Joaquín Casalduero, who discovers coherence in a poetic «fluir tumultoso» in contrasts between light and darkness and the juxtaposition of antithetical details and events. He maintains that Cervantes does accomplish the goal of variety in unity by forming «de contrarios igual tela», as echoed in Damón's sonnet in book V of La Galatea. However, Casalduero approaches La Galatea as an example of the influence of the Baroque esthetic on Cervantes' art. Instead of identifying a truly unifying principle, he points to what he considers to be Cervantes' destruction of Renaissance symmetry. Cf. «La Galatea», in Suma cervantina, pp. 27-46.

«Yo corté con mi ingenio aquel vestido / con que al mundo la hermosa Galatea / salió para librarse del olvido» (Miguel de Cervantes Saavedra, Obras completas, ed. Angel Valbuena Prat, 17th ed. (Madrid: Aguilar, 1970), I, 90.

Riley, pp. 20 & 84.

For the influence of López Pinciano and other neo-Aristotelian theorists on Cervantes' ideas about fiction after La Galatea, see Riley, pp. 10-13; Forcione, pp. 102 n, 339-41; and Atkinson, p. 193.

Alexander A. Parker, «Fielding and the Structure of Don Quixote», BHS 33 (1956), 1-16.

Parker, «Fielding and the Structure of Don Quixote», pp. 15-16. Parker has shown the same principle to hold in the comedia, in The approach to the Spanish Drama of the Golden Age (London: The Hispanic and Luso-Brazilian Councils, 1957), pp. 8 ff.

Leo Marx, The Machine in the Garden: Technology and the Pastoral Ideal in America (1964; rpt. New York: Oxford Univ. Press, 1973), pp. 3-33; Raymond Williams, The City and the Country (New York: Oxford Univ. Press, 1973), pp. 1-34. Hallett D. Smith, Chapter One, «Pastoral poetry», in Elizabethan Poetry: A Study in Conventions, Meaning, and Expression (Cambridge: Harvard Univ. Press, 1952), pp.1-63, especially 9-12. The contrast, revealed in William Empson's observation that pastoral, though «about» shepherds, is not «by» them or «for» them, is implicit throughout his book, Some Versions of Pastoral (1935; rpt. New York: New Directions, 1974). See also, Frank Kermode, English Pastoral Poetry (1952; rpt. New York: Norton, 1972), pp. 11-44; Peter V. Marinelli, Pastoral, The Critical Idiom 15 (London: Methuen, 1971).

In his article, «Et in Arcadia Ego», Erwin Panofsky points to the theme of death and the «elegiac feeling» of nostalgia and melancholy in Moschus, Bion, and Virgin. Virgil's special contribution, according to Panofsky, is the resolution of «dissonance» between real «human suffering» and super-humanly perfect surroundings» into a «vespertinal mixture of sadness and tranquility», in Philosophy and History, Essays Presented to Ernst Cassirer, ed. Raymond Klibansky and H. J. Patton (Oxford: Clarendon Press, 1936), pp. 295-320; rpt. in Pastoral and Romance, ed. Eleanor Terry, Lincoln Englewood Cliffs, N. J.: Prentice Hall, 1969), pp. 29-30. See also Robert Coleman, ed., Eclogues, by Publius Vergilius Maro (New York: Cambridge Univ. Press, 197), pp. 28-35; Paul Alpers, «The Eclogue Tradition and the Nature of Pastoral», CE 34 (1972), 354-59, and Marx, pp. 19-23.

See for example, Alexander A. Parker, «Theme and Imagery in Garcilaso's First Eclogue», BSS 25 (1948), 22-27.

The wedding has been arranged by «el rabadán mayor de todos los aperos», or, according to Avalle, «el rey» (Galatea, II, 131, n.).