A version of the first part of this paper was read at the Cincinnati Cervantes Symposium, held on February 25, 1983, at the University of Cincinnati. (N. from the A.)

Salvador de Madariaga, Guía del lector del «Quijote», Buenos Aires, Sudamericana: 1972 (reprint from the original that appeared in the Buenos Aires newspaper La Nación between 1923 and 1925); he calls Dorotea «La persona más lista de todo el orbe quijotesco», p. 7. Also on Dorotea see: Francisco Márquez Villanueva, Personajes y temas del «Quijote», Madrid, Taurus: 1975. He recasts his comments therein on Dorotea as «Dorotea la muchacha de Osuna», in Archivo Hispalense, Nos. 141-146, (1976), pp. 147-163. On the topic of women disguised as men see Melveena McKendrick, Women and Society in the Spanish Drama of the Golden Age, Cambridge: Cambridge University Press, 1973. (N. from the A.)

El ingenioso hidalgo don Quijote de la Mancha I, ed. by Luis Andrés Murillo, Madrid: Castalia, 1978. All further references are to this edition. On the topic of «subparts» see his note 1, I, p. 139. For the most cogent explanation to date of Cervantes' seemingly haphazard division of his material into «partes», see R. M. Flores, «Cervantes at Work: The Writing of Don Quixote, Part I»: JHP, 3 (1978), 135-60. (N. from the A.)

On the topic of the various «authors», or narrative voices in Don Quijote, see G. Haley, «The Narrator in Don Quixote: Maese Pedro's Puppet Show», MLN81 (1966), 164-77; Ruth El Saffar, Distance and Control in Don Quixote, Chapel Hill: North Carolina Studies in the Romance Languages and Literatures, 1975. Also the very perceptive little book by Mia Gerhardt, Don Quichotte, la vie et les livres, Amsterdam: N. V. Noord-Hollandsche Uitgeers Maatschappij, 1955. (N. from the A.)

For a theoretical study of problems adjacent to this topic of narrative levels see the various studies of Gerald Prince, in particular: «Introduction to the Study of the Narratee» in Jan D. Tompkins, ed., Reader-Response Criticism, Baltimore: Johns Hopkins U. P., 1980, also «Understanding Narrative», STCL, VI, Nos. 1, 2, pp. 37-50. (N. from the A.)

If we schematize the levels of narration that are implied at the end of Chapter 27, the image that comes to mind is one of «surfacing». In effect, as we proceed from Cardenio's tale to the «editor's» directives («lo que se dirá...»), we are drawn up from the innermost level -«episodio»- to the most immediate, the closest to us as readers, or narratees. On the other hand, the beginning of 28 plunges us back, from the same plane, to that deepest level now constituted by Dorotea's voice (anticipating her tale -another «episodio»). R. M. Flores' contention that Cervantes abandoned the regular division in «partes» (originally eight chapters each) when he began to rearrange his material (Marcela / Grisóstomo episode; interpolated tales; Sierra Morena sequence) and that he abandoned this idea with the «Cuarta parte», does not affect my argument. The fact that Cervantes added, according to Flores, the introductory page to the Dorotea episode confirms my contention that he wanted the reader to become aware of the special structural features of his arrangement: «What probably happened is that after the major interpolations and the displacement of the pastoral interlude [Grisóstomo / Marcela], Cervantes must have felt very proud of the overall results. Thus, he wrote a new, one-page long passage for the beginning of Part Four to boast about his resourcefulness and praise the newly interpolated 'cuentos y episodios'» (Flores, p. 142). (N. from the A.)

A. David Kossoff, in «El pie desnudo: Cervantes y Lope», Homenaje a Wm. L. Fichter, (Madrid: Castalia, 1971), pp. 381-86, studies the erotic connotations of the naked foot whose sight enthralls the trio. Also Louis Combet, Cervantès ou les incertitudes du désir, Lyon: Presses Universitaires de Lyon, 1980. Both Kossoff and Combet point out --Combet uses practically the same documentation as Kossoff-- the great erotic importance given to the feet of ladies in Golden Age Spain; this idiosyncracy was thought most curious by foreigners (the correspondence of Mme. d'Aulnoy is mentioned), who felt that it approached foot fetishism --all this expressed, of course in the language of the times. Louis Combet brings to bear depth psychology and erotic symbolism in his analysis. Javier Herrero, in «The Beheading of the Giant: An Obscene Metaphor in Don Quijote», RHM, 39, No. 4, (1976-77), pp. 141-49, also examines the significance of erotic symbolism linked to Dorotea, and pursues it into the adventure of the wineskins at the Inn of Juan Palomeque. (N. from the A.)

I was reminded of the highly theatrical aspect of the tableau by Professor J. J. Allen. (N. from the A.)

Chapter 20, the adventure of the batanes («fulling mills») is another instance where the reader's information is as limited as that of the protagonists. See my «Boccaccio and Cervantes: The Frame As Formal Contrast», forthcoming in Comparative Literature. (N. from the A.)

The erotic charge of the text, though wholly implicit, is nevertheless remarkably intense. (N. from the A.)