111
Rodríguez Marín, Nuevos documentos cervantinos, doc. XXXIV, 87-88. (N. del A.)
112
Rodríguez Marín, Nuevos documentos cervantinos, doc. XXXIV, 133-34. (N. del A.)
113
Rodríguez Marín, Nuevos documentos cervantinos, doc. XI, 17. (N. del A.)
114
Rodríguez Marín, Nuevos documentos cervantinos, doc. XI, 19. (N. del A.)
115
«Por razón de doce varas de ruán y
diez y ocho varas y una tercia de holanda»
(Astrana I,
286). (N. del A.)
116
Curtius's three examples include Ariosto's burlesque masterpiece and the epic Poem of the Cid. (N. from the A.)
117
«Emphasis» and «emphasized» have been substituted for «underscoring» and «underscored» since in both the printed and electronic versions of this piece, italics are employed rather than underlining. (N. from the E.)
118
We feel that the quality of the two examples cited (El libro del Caballero Cifar being the only extant Spanish example of the chivalric romance prior to Amadís de Gaula, and the latter setting the standard for all that followed in the sixteenth century) are sufficient for our purposes. There is little question regarding Cervantes's first-hand knowledge of the Amadís (Olmedo), although his possible familiarity with the Cifar, as well, has been recently defended (Walker). (N. from the A.)
119
If all the preceding pastoral recreation -the
Grisóstomo-Marcela story- is considered to have taken place in a manner
of 'pastoral
locus amoenus' (Socha),
Cervantes's immediately succeeding 'romance
locus amoenus' constitutes an
example of baroque perspectivism, a consciously differentiated (Allen, 55-56)
employment of the selfsame
topos. More recently,
Martínez-Bonati (48) has noted the same contrasting procedure:
«We have seen the gradually marked transition with which the story of
Marcela and Grisóstomo is introduced. At the episode's end, on the other
hand, we have a grotesque contrast to return us to the comic realistic world.
Here the adventure of the Yanguesans (in which Rocinante makes advances to
their mares, and ends up as throttled as his master) immediately follows the
story of the Platonic adoration of ideal beauty incarnated in a woman. The fact
that the chapter on the Yanguesans (I, 15) begins with faint eclogue-type
echoes in the form of the
locus amoenus accentuates the
humor of this transition»
(N. from the A.).
120
For the religiously motivated medieval use of the locus amoenus, which appears totally inappropriate in studying Cervantes's Quijote use, see Deyermond, 65, 167. (N. from the A.)