El Saffar, Novel to Romance (Baltimore and London: Johns Hopkins University Press, 1974), pp. 40-50; Edwards, «Los dos desenlaces de 'El celoso extremeño' de Cervantes», BBMP 49 (1973), 281-91; Lambert, «The Two Versions»; Forcione, Cervantes and The Humanist Vision: A Study of Four Exemplary Novels (Princeton, NJ: Princeton University Press, 1982), pp. 31-92. (N. from the A.)

Cf. my note, «Segismundo's Fears at the End of La vida es sueño», MLN 97 (1982), 380-90. (N. from the A.)

I am grateful to Sharon Lake for this parallel. (N. from the A.)

I presented a version of this study at the Louisiana Conference on Hispanic Languages and Literatures in New Orleans on February 16, 1985. I am indebted to those who responded to the paper; in revising it, I have taken their remarks into account. (N. from the A.)

Cited by Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II, trans. Sian Reynolds (New York: Harper, 1973), I, 745. (N. from the A.)

Bandits (New York: Delacorte, 1969), pp. 13-23, 48 et passim. (N. from the A.)

«Santos y bandoleros en el teatro del Siglo de Oro», Arbor 13 (1949), 395-416. The verses from Zabaleta are cited by Parker, p. 401. (N. from the A.)

See Hobsbawn's chapter, «The Bandit as Symbol». (N. from the A.)

Carlos Varo writes, «Roque es un caballero. Es el precursor de esas estampas románticas del bandolero galán y del asesino aristócrata». See Génesis y evolución del «Quijote» (Madrid: Alcalá, 1968), p. 515, emphasis mine.

A. J. Close's book The Romantic Approach to «Don Quijote», demonstrates in a systematic and thorough fashion the extent to which Romantic concepts have shaped the critical tradition of Don Quijote. In the discussion of these chapters, I feel we could well heed Close's admonition to pay attention to the burlesque aspects of the text, but here I am concerned in addition with the influence of the Romantic conception of banditry -as transcendental protest- on Cervantes criticism. A related phenomenon is discussed by Antonio Giménez in «El mito romántico del bandolero andaluz», CHA 383 (1982), 272-96. Giménez describes the way in which Romantic literary models of bandits shaped the perceptions of nineteenth-century writers in their accounts of travels in Spain. The bandit was an indispensable element in a nineteenth-century travelogue from Spain, so that some writers felt disappointed when they did not actually have a face-to-face encounter with a dashing bandit. (N. from the A.)

Martín de Riquer, Aproximación al «Quijote» (Barcelona: Teide, 1967), p. 159; Luis Andrés Murillo, The Golden Dial (Oxford: Dolphin, 1975), p. 153; Karl Ludwig Selig, «The Ricote Episode in Don Quijote: Observations on Literary Refractions», RHM 38 (1974-75), 75. (N. from the A.)