The reference to their journal being «not a set school composition but an informal piece» is obviously directed at enlisting the cooperation of Silberstein. (N. from the A.)

Quoted in Gay, Freud, p. 89. (N. from the A.)

«A case history is the story of an individual presented to the public for didactic purposes: it is a form of exemplary biography» -Peter Brooks, Reading for the Plot (Oxford: Clarendon Press, 1984), p. 183. See Riley, «Cervantes, Freud and Psychoanalytic Theory», pp. 8-9. (N. from the A.)

See the summary of criticism on the names in Clareo y Florisea by De Armas Wilson, p. 21. (N. from the A.)

Since critics have been pointing for some time to the balanced male and female names typical of Byzantine romance titles as something that differentiates them from the single male names that entitle chivalric tales, it seems time to stop referring to «the Persiles». (N. from the A.)

«In comparing himself to 'that which is called place', the hero of the Persiles embraces not only Aristotle's sphinxes and goat-stags but also all other notions of Otherness» (De Armas Wilson 149). (N. from the A.)

De Armas Wilson has observed that Cervantes substantially modified the Genesis account of creation by his presentation of the Virgin as being pre-existing (208). That is the implication of the doctrine of the Immaculate Conception as it was vigorously defended in Spain by the Franciscans in the seventeenth century and developed at greatest length in María de Agreda's biography of the Virgin entitled La mística ciudad de Dios. (N. from the A.)

It should be pointed out, however, that the same can be said about Aeneas. See Stegmann, p. 147. (N. from the A.)

El Saffar discusses both the «high level of consciousness» of the trickster (161-62) and the symbiotic relationship between trickery and Christian compassion and forgiveness (153-154). (N. from the A.)

El Saffar speaks of, «The power of the feminine, as articulated in Feliciana's song» (154). See also De Armas Wilson, chapter 9. (N. from the A.)