101

William S. Jack, The Early Entremés in Spain: The Rise of a Dramatic Form (Philadelphia: U of Pennsylvania P, 1923) 125. (N. from the A.)

102

While Jack's phrase «literature of the highest class» is clearly prejudiced toward the elite canon, it does signal the initial marginalization of the entremés and that Cervantes' works are understood as having some canonic, literary value beyond their theatricality. (N. from the A.)

103

Patricia Kenworthy, «The Entremeses of Cervantes: The Dramaturgy of Illusion», Diss., U. of Arizona, 1976, 12. (N. from the A.)

104

Eugenio Asensio, Itinerario del entremés: desde Lope de Rueda a Quiñones de Benavente (Madrid: Gredos, 1971) 80. (N. from the A.)

105

Cervantes himself acknowledges the interiorization of character in his plays, writing in his prologue «fui el primero que representase las imaginaciones y los pensamientos escondidos del alma» (Entremeses 92). (N. from the A.)

106

Asensio 99. (N. from the A.)

107

Jill Syverson-Stork, Theatrical Aspects of the Novel: A Study of Don Quixote (Valencia: Albatros, 1986) 9. (N. from the A.)

108

Bakhtin 39. (N. from the A.)

109

Bakhtin 7. (N. from the A.)

110

Bakhtin defines «dialogism» as a crossing of two languages, attitudes, or styles which results in a dialogue between points of view (see Bakhtin 76). «Heteroglossia» describes the potential coexistence of many meanings or nuances within one word, phrase, or language, depending on its social or linguistic context (Bakhtin 272). For a detailed discussion of perspectivism, see Castro 68-109 and Leo Spitzer, «Linguistic Perspectivism in the 'Don Quijote'», reprinted in Leo Spitzer: Representative Essays, ed. A. K. Forcione, H. Lindenberger, and M. Sutherland (Standford: Stanford UP, 1988) 225-271. (N. from the A.)