Fray Luis de León supports this economic view of marriage in La perfecta casada. For more on the relationship between marriage and prostitution in the Renaissance see Pearson and Perry (53-74). (N. from the A.)

For more on the image of Moors in Golden Age Spain, see Domínguez Ortiz and Vincent. For Cervantes's construction of Moorish identity in Don Quijote I, see Garcés. (N. from the A.)

Cervantes fully inscribes the selling and ransoming of captive soldiers. In the Orientalist fiction, El Abencerraje, the captive rejects the Moorish woman's suggestion to buy his freedom; however, in Don Quijote the captive fully embraces her offer. (N. from the A.)

Perry explains that people knew the tales of famous prostitute-saints through stories and paintings (50-52). (N. from the A.)

Powerful female discourse is, of course, not limited to prostitutes. Ovid's Heroides, for example, gives powerful linguistic skills to women, especially with regard to love. (N. from the A.)

I do not wish to refute the arguments for Cervantes's manipulation of pastoral and mythological sources for writing Marcela. However, traces of the hetairae, particularly their association with public speaking, cannot be overlooked. Regarding mythological sources for Marcela, El Saffar reads her as a representation of the goddess Artemis whose dual nature she foregrounds: «the defeat or submission of the goddess always entails a breakup of the original triplicity of her nature, dividing the maiden from the mother, the mother from the crone, and the 'good' qualities from the 'bad'» (Quixotic Desire 163); Berndt Kelley discusses Marcela as an Astraea figure; Herrero names her a «Diana-like goddess» (296); Elvira Macht de Vera also compares her to Diana: «se aproxima más a Artemisa, casta hermana de Apolo, diosa lunar y celeste» (8); Pierre Ullman argues that Marcela is a secularized virgin (310); Michael McGaha claims that the Apollo-Daphne myth «provided the primary inspiration» (35) although other mythological women -Hippolytus, Eurydice and Hecate- also figure in her construction. For Marcela as a mythological archetype see Dunn (4) and Iventosch (71). For images of women in literature as 'angel' and 'monster', see Sandra Gilbert and Susan Gubar (3-44) and specifically in Don Quijote see Jehenson who argues that critics have interpreted Marcela as either Madonna or shrew (16). (N. from the A.)

Marcela's choices are reminiscent of those Catalina de Mesa makes. She is an unmarried woman who did not enter the convent and thus slipped through the «webs of discipline and enclosure; she could also escape male control unless she married or took religious vows» (Perry 67-68). (N. from the A.)

In my article on Marcela and Dorotea's speeches, I point to these speeches as the poles of failed and successful restoration of harmony and social justice and discuss the rhetorical strategies employed in their discourses. (N. from the A.)

Esta ha sido examinada a menudo, siendo la experiencia como cautivo (Quijote, I, 39-41, La española inglesa, El amante liberal, Los baños de Argel, El trato de Argel) la que más atención ha recibido. Ver, por ejemplo, Juan Bautista Avalle-Arce, «La captura (Cervantes y la autobiografía)», Nuevos deslindes cervantinos (Barcelona: Ariel, 1975): 277-333. (N. del A.)

Dice Amezúa: «Entre todos los episodios del Coloquio de los perros hay uno tan vivo, sobresaliente y realista que logra destacarse por maravilloso modo entre todos sus hermanos, en el conjunto general de la novela» ([1912] 153; [1958] 451). (N. del A.)