31
In The Secular Scripture (Cambridge, Mass. and London: Harvard University Press, 1976), pp. 46-47, Northrop Frye observes that «nineteenth century writers of romance, or of fiction which is close to romance in its technique, sometimes speak in their prefaces and elsewhere of the greater 'liberty' that they feel entitled to take. By liberty they mean a greater designing power, especially in their plot structures... In displaced or realistic fiction the author tries to avoid coincidence. That is, he tries to conceal his design, pretending that things are happening out of inherent probability.»
32
«Structural Symmetry in the Episodic Narratives of Don Quijote, Part One», CL, 10 (1958). 121-33 (p. 129).
33
Salvador de Madariaga, Guía del lector del «Quijote», 3rd ed. (Buenos Aires: Editorial Sudamericana, 1947), pp. 85-104; Francisco Márquez Villanueva, Personajes y temas del «Quijote» (Madrid: Taurus, 1975), pp. 15-75.
34
Márquez Villanueva, pp. 126-34 and p. 129, n. 58; Leo Spitzer, «Perspectivismo lingüístico en El Quijote», Lingüística e historia literaria (Madrid: Gredos, 1955), pp. 161-225 (pp. 210-13).
35
«Voyage with Don Quixote», in Cervantes: A Collection of Critical Essays. Ed. Lowry Nelson Jr. (Englewood Cliffs, N. J.: Prentice-Hall, 1969), pp. 49 72 (p, 59).
36
«'El engaño a los ojos' en las bodas de Camacho del Quijote», Hispania, 55 (1972), 881-86 (p. 885).
37
For a full discussion of Philip III's policy towards the Moriscos and Cervantes' reaction to it see Márquez Villanueva, pp. 229-335.
38
For a response to this article, see John J. Allen, «A More Modest Proposal for an Obras completas Edition», Cervantes 2.2 (1982): 181-84. -FJ.
39
In this study I differentiate between scholarly, critical, and annotated editions. A scholarly edition is, in my opinion, any edition prepared following rigorous editorial standards and up-to-date bibliographical methods. A critical edition is an edition prepared from a holograph manuscript or a copy (or copies) of the earliest extant edition. An annotated edition is an edition having text and critical apparatus together in the same volume (or volumes). It follows, then, that critical and annotated editions may or may not be scholarly, and that a modernized, regularized, «popular», or pocket-book edition may or may not be critical or annotated, but it can very well be a scholarly edition. I would like to thank Professors E. C. Riley and E. L. Rivers for useful suggestions. I am especially indebted to Professors W. F. Hunter, J. A. Lavin, and L. A. Murillo for their invaluable help and advice.
40
Had Don Quixote been set by one compositor alone, or by two compositors (one for each Part), and given the fact that we do not have an holograph manuscripts of Cervantes' works, it would be impossible to tell whether the compositor (or compositors) respected the orthography of the printer's copy, imposed his own orthography, or accepted some characteristics of the original but rejected others.