51
For Huarte's influence on Cervantes, see Rafael Salillas, Un gran inspirador de Cervantes, El Doctor Juan Huarte y su Examen de Ingenios (Madrid: Eduardo Arias, 1905); and Mauricio de Iriarte, El doctor Huarte de San Juan y su «Examen de ingenios. Contribución a la historia de la psicología diferencial, 3rd ed. (Madrid: C.S.I.C., 1948). (N. from the A.)
52
Quotations from the Examen de ingenios refer to the edition of Esteban Torre (Madrid: Editora Nacional, 1976). (N. from the A.)
53
Cf. Malcolm K. Read, Juan Huarte de San Juan (Boston: Twayne, 1981), especially Chapter 5. (N. from the A.)
54
Cf. Read, p. 105. (N. from the A.)
55
Text citations refer to the edition of Alfredo Carballo Picazo, 3 vols. (Madrid; C.S.I.C., 1973). (N. from the A.)
56
Cf. Andrée Collard, La nueva poesía (Madrid: Castalia, 1967). (N. from the A.)
57
Textual citations refer to the modern editions of these works: Miguel Sánchez de Lima, El Arte Poética en Romance Castellano, ed. Rafael de Balbín Lucas (Madrid: C.S.I.C., 1944); Luis Alfonso de Carballo, Cisne de Apolo, 2 vols., ed. Alberto Porqueras Mayo (Madrid: C.S.I.C., 1958). (N. from the A.)
58
Carvallo, of course, had a role in the formulation of Lope's 1609 Arte nuevo. See Vilanova, p. 616. (N. from the A.)
59
Much closer to bare catalogs of verse forms, rhetorical figures and rhymes are Juan Díaz Rengifo's Arte poética española (Salamanca, 1592) and Bartolomé Ximénez Patón's Eloquencia Española en Arte (Toledo, 1604). Even these works, however, deserve the kind of attention for which I argue here. (N. from the A.)
60
Michael Riffaterre, The Semiotics of Poetry (Bloomington: Indiana University Press, 1978). (N. from the A.)