Borges and His Fiction: A Guide to his Mind and Art (Chapel Hill: Univ. of North Carolina Press, 1981), p. 189. (N. from the A.)

Borges has been diagnosed as incurably repressive by the irrepressible Harold Bloom in «A Compass for the Labyrinth», The Yale Review, 59 (1969), 110. For the notion that Borges' fiction is «even more Dulcineated than the knight's own ideal», see Arthur Efron's Don Quixote and the Dulcineated World (Austin: Univ. of Texas Press, 1971), p. 143. See also James E. Irby's remarks about Borges' fictions as the creations of someone who has become «more and more an incredible mind in an ailing and almost useless body», in the Introduction to Labyrinths, eds. Donald A. Yates & James E. Irby (New York: New Directions, 1962), p. xvii. For a provocative comparison of Borges with Calderón, see Alicia Borinsky's «Benefits of Anachronism: A Disorder in Calderón's Papers», Denver Quarterly: The Rhetoric of Feminist Writing, ed. Diana Wilson, Vol. 18, No. 4 (Winter, 1984), pp. 90-92. (N. from the A.)

«Pierre Menard, Author of the Quixote», in Labyrinths, p. 44. (N. from the A.)

Ruth El Saffar, «Unbinding the Doubles: Reflections on Love and Culture in the World of René Girard», Denver Quarterly, pp. 6-22. See also Toril Moi, «The Missing Mother: The Oedipal Rivalries of René Girard», Diacritics, 12 (Summer, 1982), 21-31. It is tempting to link Girard's theories to the violence implicit in Freud's fictions, whose ambiguities, as Patricia Klindienst Joplin argues in an essay on the Philomela myth, «posit an original moment in which an act of violence (the transgression of a boundary, the violation of a taboo) explains how difference became hierarchy, why women were forbidden to speak» («The Voice of the Shuttle Is Ours», Stanford Literature Review, I, i [Spring, 1984], pp. 29-30). (N. from the A.)

Robert ter Horst, «On the Importance of Being Earnest: A Reply to Cesáreo Bandera», Cervantes, 5 (1985), 62. (N. from the A.)

Thomas M. Greene, The Light in Troy: Imitation and Discovery in Renaissance Poetry (New Haven: Yale University Press, p. 1982), pp. 2, 16, and 37-53. (N. from the A.)

Note the trajectory from J. D. M. Ford's 1928 footnoted recognition of Gyges and Candaules as «an analogue»; to Francisco Ayala's 1965 view of it as El curioso's «fuente primera»; to Helmut Hatzfeld's 1966 vision of Candaules' double transformation in the Quixote («Candaules transformado») not only as Anselmo but also as Cardenio; to Paul M. Arriola's 1970s enshrinement of the Greek tale as «el arquetipo de 'El curioso'.» See Arriola's useful critical history of the theme of Candaules in «Varia fortuna de la historia del rey Candaules y El curioso impertinente», Anales cervantinos, 10 (1971), 33-49. (N. from the A.)

On Candaules as a giant, see Kirby Flower Smith's «The Tale of Gyges and the King of Lydia», American Journal of Philology, 23 (1903), 38. Cervantes' disruptive wineskin episode is an imitation of the last chapter of Book II of Apuleius' Golden Ass (translated into Spanish by Diego de Cortagana for posthumous publication c. 1525), where Lucius compares himself to a giant-killer as he perforates three bewitched and animated wineskins. (N. from the A.)

Herodotus, with an English trans. by A. D. Godley, Loeb Classical Library, I (London: Heinemann, 1920), 8-15. (N. from the A.)

Fernando del Pulgar, Glosas a las Coplas de Mingo Revulgo (Madrid: Clásicos Castellanos, 1929), p. 169. Copla III cited above. (N. from the A.)