Selecciona una palabra y presiona la tecla d para obtener su definición.


Lope wrote the «Arte Nuevo» as a speech to be read at the Madrid academy. I quote from the text published in Emilio Orozco Díaz, ¿Qué es el «Arte Nuevo» de Lope de Vega? (Salamanca, U. de Salamanca, 1978). The translation is my own. (N. from the A.)



Cervantes, Los trabajos de Persiles y Sigismunda, 284. Translated by Celia Richmond Weller and Clark A. Colahan as The Trials of Persiles and Sigismunda, A Northern Story (Berkeley, UC Press, 1989), 200. (N. from the A.)



For a discussion of the crucial figure of the androgyne in the Persiles, see Diana de Armas Wilson, Allegories of Love: Cervantes's Persiles and Segismunda (Princeton: Princeton UP, 1991). (N. from the A.)



Heise, 359. (N. from the A.)



Heise, 360. (N. from the A.)



Finucci quotes Freud's «Femininity» to convey a senseof this confusion: «When you meet a human being, the first distinction you make is 'male or female'? and you are accustomed to make the distinction with unhesitating certainty». (The Lady Vanishes, 199). (N. from the A.)



Cervantes, El ingenioso hidalgo Don Quijote de la Mancha, Martín de Riquer, ed. (Buenos Aires: Ed. Kapelusz, 1973), I, 359. Subsequent references are in the text, by page or chapter number only. Translation by Walter Starkie, Don Quixote of La Mancha (New York, Signet, 1964), except where indicated by brackets. (I have substituted my own translation at points where Starkie departs in some important way from the original text). (N. from the A.)



Heise, 367-68. (N. from the A.)



The translation eliminates a good deal of the ambiguity in his passage by using pronouns that hide the gender of the subject(s). But Starkie goes one step further in the last paragraph quoted, spelling out «the maiden's» where Cervantes merely says «her hand». (N. from the A.)



Finucci, 237 and passim (N. from the A.)