11
Miguel de Cervantes, Don Quijote de la Mancha, ed. Martín de Riquer (Barcelona: Editorial Juventud, 1971), p. 172, my italics. Subsequent quotations are from this edition. (N. from the A.)
12
The tale that Sancho tells is found in various medieval collections and was well known in the oral tradition of Cervantes' time. See the commentary of Rodríguez Marín in his edition, Don Quijote de la Mancha (Madrid: Clásicos Castellanos, 1961), 11, 143-44. (N. from the A.)
13
For a full discussion of the role of genre in the question of interpretation see Alastair Fowler, Kinds of Literature: An Introduction to the Theory of Genres and Modes (Cambridge, Massachusetts: Harvard University Press, 1982). Fowler asserts that the primary importance of genre is its role in interpretation not its function as a means of classification. (N. from the A.)
14
See Mac E. Barrick, «The Form and Function of Folktales in Don Quijote», Journal of Medieval and Renaissance Studies 6 (1976), 101-38. Barrick classifies Sancho's story as a catch-tale, the basic thrust of which is to trick the listener. (N. from the A.)
15
Warnings of this type were a commonplace of chivalric literature. Don Quixote cites Ariosto's admonition concerning Orlando's arms twice, first in I, 13 and later in his instructions to Sancho about his own arms, II, 46. The specific ballad line used here by Cide Hamete has also been previously adapted by Don Quixote in reference to his Cueva de Montesinos adventure in II, 22, where his claim to the adventure is never fully accepted by Sancho. Cide Hamete's claim here not only imitates Don Quixote's but similarly fails to convince. (N. from the A.)
16
«La Gitanilla: A Tale of High Romance», BHS 54 (1977), 283 and 294. (N. from the A.)
17
«Cervantes: A Question of Genre», in Mediaeval and Renaissance Studies on Spain and Portugal in Honour of P. E. Russell, ed. F. W. Hodcroft, et al. (Oxford: Society for the Study of Mediaeval Languages and Literature, 1981), p. 70. It is obvious that Cervantes was not familiar with the terminology of novel and romance as we use it today. However, he was aware of two distinct types of narrative fiction: the type he criticizes in Don Quijote for its lack of unity and verisimilitude, which we now call romance; and the type he offers in its place in Don Quijote, which we now call the novel. See E. C. Riley, «Teoría literaria», in Suma Cervantina, ed. J. B. Avalle-Arce y E. C. Riley (Londres: Támesis, 1973), pp. 315-20; and J. J. Allen, «Don Quijote and the Origins of the Novel», in Cervantes and the Renaissance, ed. M. D. McGaha (Newark, Delaware: Juan de la Cuesta, 1980), pp. 125-40. (N. from the A.)
18
The Gates of Horn (New York: Oxford University Press, 1966), p. 41. (N. from the A.)
19
Miguel de Cervantes, Novelas ejemplares, ed. Francisco Rodríguez Marín, Clásicos Castellanos, 27 (Madrid: Espasa Calpe, 1965) I, 3. All subsequent citations are from this edition. (N. from the A.)
20
«Concerning the Structure of Cervantes's La Gitanilla», Romanistisches Jahrbuch 13 (1962), 274. (N. from the A.)