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  • Volume XII, Number 2, Fall 1992
      • Monique Joly
        In this paper a parallel is established between the sum total of obscene allusions which Sancho makes whenever he comes across a sexually desirable young woman, and those that are made in the «danza guiada» in La ilustre fregona. In both cases the divergent handling of improper and abnormal attitudes with respect to love reveals the ideological filter through which Cervantes views the country bumpkin to whom he can ascribe positive values, as opposed to the urban infra-world, which he represents in a much harsher manner.
      • José Ignacio Díez Fernández
        Luisa Fernanda Aguirre de Cárcer
        The medical activities of the Moriscos during the Golden Age occupied a shadowy middle ground between their own cultural heritage and the demands of the Christian society in which they lived. That society defended itself against their competition (in a process of increasing corporativism) by legal measures which sought to ban them from officially practicing medicine. For that purpose such distortions as accusations of magic, and hence, of heresy, were used against them. In his Persiles Cervantes distinguishes between sorcery and magic, and develops his ideas, above all, in two case histories: one featuring Moriscos (Cenotia), the other, Jews (the wife of Zabulón). The methods in the two cases differ, although both involve love stories. Cervantes' treatment of the subject is anecdotal, hackneyed, and almost incoherent.
      • José Luis Álvarez Martínez
        This paper is an interpretation of the text in the Coloquio de los perros where Berganza heeds the flattery of an «extremely beautiful girl» whom the dog approaches «as if to see what she wanted» (to seize the meat he was carrying). The text is permeated with eroticism. Berganza approaches «as if to see», but his private reasons are less admissible. Hence the pun: «flesh [in the basket] has gone to flesh» [of erotic desire]. We explain the trick of the clog and interpret the cryptic message: «just a hair of the wolf, and that from its forehead».
      • Alfredo Baras Escolá
        Aside from the very few episodes in which eroticism is literally expressed, there are many other passages in the novel which allow of a double meaning -one innocent, the other ribald. We shall point out some of these words and phrases which were formerly used with an erotic meaning. It would certainly be absurd to read such meanings into Don Quixote if these expressions did not occur in clearly allusive contexts. However, the fact that they are imbedded in such important aspects as Don Quixote's name, his profession as knight errant, and the description of Sancho Panza proves that Cervantes relied on this sort of humor not only in his Ocho entremeses -as has already been demonstrated- but in his masterpiece as well.
      • Antonio Cruz Casado
        Cervantes' fondness for the subject of sorcery is manifest not only in the well known Coloquio de los perros but also in many other areas of his work, among which Persiles y Sigismunda particularly stands out. In the concluding chapters of that novel the heroine is bewitched by means of a malignant spell cast by a Jewess who resides in Rome. The episode is a sort of tour de force which culminates a series of difficulties the lovers Periandro and Auristela have had to undergo. We shall point out an interesting parallel with a similar situation in La española inglesa, as well as some classical antecedents from the Greek narrative of adventures.
      • José Ramón Fernández de Cano y Martín
        Critics of Cervantes' work have been unanimous in poing out the rather shocking eroticism of El viejo celoso. Nevertheless, though much has been written about Cervantes' uninhibited portrayal of highly obscene material in this work, scholars have not yet analyzed his masterful use of a colloquial vocabulary rich in double meanings. I shall demonstrate that for the seventeenth century audience, the play's language was at least as scandalous as the behavior presented on stage.
      • Michael D. Hasbrouck
        Critics have proposed various explanations of Don Quixote's madness, such as an excess of melancholy or of choler. I argue in this paper that demoniacal possession is another possibility. In Don Quixote the protagonist's behavior often suggests possession by the devil; in fact other characters often confuse Don Quixote with the devil. I interpret an episode in II, 62 in which Don Quixote exclaims: «Fugite, partes adversae!» as a sort of exorcism; and I also examine the similarities between Don Quixote's trampling by swine (II, 68) and the most famous exorcism in the Bible.
      • Steven Hutchinson
        The Novelas ejemplares present several autonomous communities or microcosms, one of which is the double -mainly female- world of witches in the Coloquio. While sorcery is a solitary art, witchcraft is a community practice, a cult. The community of witches has a double existence: it is a secret and geographically dispersed society which really only functions as a community when it comes together for the witches' Sabbath. This countercommunity is distinguished by its feminine practices, beliefs, and relationships. In view of the limited relations between women in Cervantes' novels, this focus on a female community is of extraordinary interest, showing an alternative society and eroticism, and the mystery of birth.
      • Kenji Inamoto
        Women dressed as men first appeared in the Madrid corrales in 1587. Because of its obvious erotic appeal, the practice was banned in the theater regulations promulgated in 1608 and 1615, but playwrights and actors found ways to get around the prohibitions. Cervantes made very little use of the technique, and this can be interpreted as a criticism of Lope de Vega and other contemporary playwrights.