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Salvador de Madariaga, in Guía del lector del «Quijote» (Buenos Aires; Editorial Sudamericana, 1926), is only the first in a series of critics to have recognized the value and interest of the character of Dorotea in Don Quixote Part I. See his chapter «Dorotea o la tristeza». (N. from the A.)



Kathryn Rabuzzi, in The Sacred and the Feminine (New York: The Seabury Press, 1982), echoes what many others have said regarding Western Culture's suppression of the mother aspect of the virgin mother goddess, a goddess who has appeared in many forms throughout human history: «This emphasis on the secular within the sacred space of home is one which Christianity has so down-played, with its emphasis on the virginity of the mother goddess, Mary, that it has come to seem the antithesis of the sacred» (p. 51). (N. from the A.)



Edward F. Edinger, «Outline of Analytical Psychology», Quadrant 1 (1968), p. 13. (N. from the A.)



Leone Hebreo, Dialoghi D'Amore (1535). (N. from the A.)



Quoted, of course, from his famous commentary in Chapter 6 of Don Quixote Part I. (N. from the A.)



Miguel de Cervantes, Don Quijote de la Mancha, ed. Martín de Riquer (Barcelona: Juventud, 1965), p. 681. All subsequent quotations are from this edition. (N. from the A.)



John Sinnigen, «Themes and Structures in the 'Bodas de Camacho,'» MLN 84 (1969), 157-170. (N. from the A.)



Spanish literature does suggest, however, that some children of rich farmers were beginning to aspire to higher social levels with their courtly values. Although the rich Juan Labrador, in Lope de Vega's El villano en su rincón, holds fast to the old spartan values of the peasantry, his children yearn for the court and end up marrying courtiers. (N. from the A.)



The story of Grisóstomo and Marcela unfolds in a similar atmosphere of anticipation: it is expected that Grisóstomo's directions for his burial, which «parecen de gentiles» (p. 110), will meet with opposition from the clergy. Also, in telling his own story, Cardenio likens Luscinda's plight to Thisbe's (p. 227). Moreover, that Cardenio's story and the Bodas episode both contain a parodic exordium to nature (pp. 240, 678) suggests that the pastoral tradition -as it idealizes nature and human love in novels like Montemayor's La Diana- is being satirized. In all three episodes the pastoral ideal is in one way or another debased: Grisóstomo sheds his scholar's garb to become a mournful shepherd, Cardenio lives like a savage among goatherds, and Basilio also takes to the country, feeding upon fruits and sleeping upon the hard earth «como animal brutal» (p. 673). It appears that the forests and fields of the Quijote are often the setting for despair rather than of happy romance. (N. from the A.)



The terms «courtly» and «common» are generally applied to two distinct treatments of the Tristan myth, Béroul's being known as the «version commune» and Thomas' as the «version courtoise». See Donald Stone's «Realism and the Real Béroul», L'Espirit Créateur, Winter, 1965, p. 219, for a brief discussion of the differences. (N. from the A.)