71
I am indebted to Ruth El Saffar's studies of the feminine in Cervantes's works; see Beyond Fiction: The Recovery of the Feminine in the Novels of Cervantes (Berkeley: University of California Press, 1984). (N. from the A.)
72
Despite the apparent historicism of the name (see note 1, p. 370), I wonder to what extent the name Coutinho/Coitiño may be ironic. (N. from the A.)
73
See Mary S. Gossy, The Untold Story: Women and Theory in Golden Age Texts (Ann Arbor: University of Michigan Press, 1989). (N. from the A.)
74
This episode is, of course, a masculinist revision of the Marcela/Grisóstomo episode in Don Quijote. (N. from the A.)
75
In this connection, I have come to consider Zayas's text as «masculine» in that it deceives the reader with words just the way men deceive women, as opposed to Cervantes's presentation of text and voice as feminine. The question of difference, of «otherness», in the two texts merits closer study. (N. from the A.)
76
Estefania is already a nun, Isabel intends to take her vows, but the other three women remain secular and do not become nuns. (N. from the A.)
77
This tale represents a feminist re-vision of «Just Desserts», the male-narrated seventh tale of the Enchantments, a thesis developed in my unpublished «Zayas's 'Other' Woman», read at the Wichita Foreign Language Conference, April 1990. (N. from the A.)
78
Maravall, in the work cited, amply describes alienation in seventeenth-century Spanish society. William H. Clamurro also stresses social disintegration in his study of «The Ravages of Vice», «Ideological Contradiction and Imperial Decline: Toward a Reading of Zayas's Desengaños amorosos» (South Carolina Review, Summer 1988, V, 2, 43-50). (N. from the A.)
79
This is a paper from a symposium on Los Trabajos de Persiles y Sigismunda, as is explained in the Foreword of this issue of the journal. (N. from the E.)
80
«The Long March to Conformity», The Sunday Times, 23 Oct., 1983, p. 39. (N. from the A.)