41
This and all subsequent quotations from Don Quijote are from El ingenioso hidalgo don Quijote de la Mancha, ed. by Luis Andrés Murillo (Madrid: Castalia, 1987).
42
Stephen Gilman, in
Galdós and the Art of the European
Novel: 1867-1887 (Princeton: Princeton UP, 1981), explains that
Américo Castro uses the term «incitation» to mean
«the conscious
incorporation of excitement»
(162). In
The Novel According to Cervantes
(Berkeley: University of California Press,1989), Gilman says that
«incited» characters are «far more intensely alive in both
the active and passive voices than we are...»
(35); they
have a certain «inner richness». All references in the text to
Gilman are to
The Novel According to
Cervantes.
43
See Alban Forcione, Cervantes, Aristotle and the «Persiles» (Princeton: Princeton UP, 1970), chapter III, for an analysis of the literary discussion between Don Quijote and the Canon.
44
Here I am indebted to Salvador J. Fajardo's detailed and perceptive reading of this scene in «The Unveiling of Dorotea or the Reader as Voyeur», Cervantes 4 (1984), 89-108; especially 89-97.
45
In this paragraph I rely heavily on Gilman's discussion of Cardenio and Dorotea (The Novel According to Cervantes, 157-177).
46
This is reminiscent of what Foucault calls «the repressive hypothesis» in The History of Sexuality, vol. 1: An Introduction, trans. Robert Hurley (New York: Random House, 1980).
47
For more on the relationship between the characters of the Quijote and «El curioso impertinente», see J. B. Avalle-Arce, «'El curioso' y 'el capitán', «Deslindes Cervantinos (Madrid: Edhigar, 1961). Also pertinent is El Saffar's discussion of the analogies between this novella and the rest of the novel, in Distance and Control, especially 68-79.
48
See El Saffar's Distance and Control for a detailed discussion about authors losing control due to their lack of distance from their creations.
49
In The History of Sexuality, pp. 66-67, Foucault discusses the hermeneutic function of the confessor. The «truth» is produced through the relationship between the person who confesses and the confessor, and the confessor has the power to «constitute a discourse of truth on the basis of [the] decipherment» of the confession.
50
Edward C. Riley, Cervantes' Theory of the Novel (London: Oxford UP, 1962), 203-204.