Deceit, Desire and the Novel, translated by Yvonne Freccero (Baltimore: Johns Hopkins University Press, 1965). Girard devotes a chapter to the crucial interpolated tale «El curioso impertinente», showing how basic to the structure of the 1605 Don Quixote is the nature of desire explored in that short tale. Cesáreo Bandera, in Mimesis conflictiva (Madrid: Credos, 1975), amplifying on Girard's work, has brought the analysis into other parts of the 1605 novel. (N. from the A.)

My words here echo consciously the title of Mircea Eliade's study, which appeared in English translation as The Two and the One, translated by J. M. Cohen (New York: Harper and Row, 1969). The original title in French was Méphistophelès et L'Aandrogyne. The connection between unification and androgyny is basic, as I hope to show in this paper. (N. from the A.)

Golden Age literature is filled with female, and also male characters who dress in clothing appropriate to the opposite sex. Very often, as in Montemayor's Diana, the dress change is for seductive or deliberately confusing reasons and results in many a frustrated love situation. Transvestism so employed is generally only a variation on the triangular love motif that always structures love relations in pastoral romance. A recent and still unpublished paper, «Where Have All the 'Old Knights' Gone?: L'Astrée», by Louise K. Horowitz, describes the role of transvestism at length in D'Urfé's L'Astrée, a work heavily influenced by Montemayor's Diana. She concludes that the frequent use of transvestism there serves the purpose of titillating the audience and promoting an alienated, narcissistic world view. (N. from the A.)

All quotations come from the J. M. Cohen translation, The Adventures of Don Quixote (Baltimore: Penguin Books, 1950). (N. from the A.)

«La captura de Cervantes», Boletín de la Real Academia Española 48 (1968), 237-280. (N. from the A.)

See his «Libros y charlas, conocimiento y dudas in Don Quijote como farina de vida» (Valencia: Editorial Castalia, 1976). (N. from the A.)

C. S. Lewis, The Allegory of Love (Oxford: The Clarendon Press, 1936); Denis de Rougemont, Love in the Western World, translated by Montgomery Belgion (New York: Pantheon, 1956). (N. from the A.)

I go into this in great detail in my forthcoming book Beyond Fiction: The Recovery of the Feminine in the Works of Cervantes (Berkeley: The University of California Press, 1983). (N. from the A.)

Cesáreo Bandera's insightful chapter «Cervantes frente a don Quijote», in Mimesis conflictiva shows to what extent Cervantes is caught in the problems for which he is attacking his main character. For an excellent revaluation of the place of eros in marriage, see Suzanne Lilar's Aspects of Love in Western Society, translated by Jonathan Griffin (New York: McGraw-Hill, 1965). (N. from the A.)

The terms «Artemis-» and «Hecate-women» come from the long tradition of associating the three phases of the moon with woman in three aspects. Artemis, the virgin, is associated with the crescent, or waxing phase of the moon; Selene, with the full moon; and Hecate, the crone, with the waning phase. Naturally, Selene, who represents woman as married, as fullness and fertility, has little place in a literature dominated by a suppressed eros. It is the virgin and her obverse, the prostitute, who claim a place of dominance in such a literature. The fact that Don Quixote Part II has many married women and mothers, in the context of the above, is all the more significant. (N. from the A.)