The same ambiguity and uncertainty of attribution is found in I, 20, when the «autor desta historia» who concludes that Sancho Panza is an old Christian could be either the author or the editor (p. 203), and in I, 22, where the «autor desta historia» (p. 587) most logically seems to refer to the «author» of the final text, i.e., the editor, Miguel de Cervantes. The same problem exists in the final narrative paragraphs of I, 52, where the references to «el autor desta historia» and «el fidedigno autor desta nueva y jamás vista historia» (pp. 557 and 558) probably refer to the editor rather than the original author. Riley discusses Cervantes' casual use of various terms to refer to his own narrative presence in the novel in Cervantes's Theory of the Novel (Oxford: Clarendon Press, 1962), p. 207. (N. from the A.)

It is the nature of the first-person fictional narrator to reveal his identity. When the narrator is not a character in the work or an identified fictional editor he is assumed to be the person whose name is on the book's cover. This does not, of course, mean that it is a literal truth that Cervantes had a friend with whom he carried on the conversation recorded in the prologue (pp. 12-18) or that he literally searched through the streets of Toledo for the book's original manuscript (I, 9, 100-102). The Cervantes who edits and narrates Don Quijote may be fictionalized, but he most certainly is Cervantes. See John J. Allen, Don Quixote: Hero or Fool? (Gainesville: University of Florida Press, 1969), pp. 11-12. The historian-translator/editor device is, of course, common to the romances of chivalry (see Daniel Eisenberg, «The Pseudo-Historicity of the Romances of Chivalry», Quaderni Ibero-Americani, 45-46 [1975], 253-59). Many modern novels also use this type of narrative framework. One which particularly recalls Cervantes is Alessandro Manzoni's I promessi sposi, which does not have the intermediary «translator», but does on a small scale evoke the ironic and complex tone of Don Quijote. The «io» who discusses his manuscript sources in the author's introduction («Ma, quando io avrò durata l'eroica fatica di trascriver questa storia da questo dilavato e graffiato, autografo, e l'avrò data, come si suol dire, alla luce, si troverà poi chi duri la fatica di leggerla?» [Florence: Adriano Salani, 1909], p. 6) and who interrupts the narration on dozens of occasions in order to stress the work's historicity, comment on his sources, etc. («il nome di questa, nè il casato del personaggio, non si trovan nel manoscritto, nè questo luogo nè altrove», p. 11) is not considered by any critic with whom I am familiar as anyone other than Alessandro Manzoni. It is not surprising that this device should be most readily found in historical novels. (N. from the A.)

Locke, p. 54. (N. from the A.)

Colbert I. Nepaulsingh, «La aventura de los narradores del Quijote», in Actas del Sexto Congreso Internacional de Hispanistas, eds. Alan M. Gordon and Evelyn Rugg (Toronto: Department of Spanish and Portuguese of the University of Toronto, 1980), pp. 515-16. (N. from the A.)

See Robert Alter, Partial Magic: The Novel as a Self-Conscious Genre (Berkeley: University of California Press, 1975), p. 9. (N. from the A.)

Raymond S. Willis, Jr., The Phantom Chapters of the «Quijote» (New York: Hispanic Institute, 1953), pp. 100-102. (N. from the A.)

In the index to Riquer's edition (p. 1154), Cide Hamete Benengeli's name is listed as appearing only five times in Part I and 33 times in Part II. El Saffar estimates that he «appears at least a hundred times» in Part II and that this increased presence is due to «the need for distancing and clarification». Distance and Control, p. 83. (N. from the A.)

«The Narrators, the Reader, and Don Quijote», MLN, 91 (1976), 201-12, subsequently incorporated into Don Quijote: Hero or Fool?, Part II (1979), 3-15. (N. from the A.)

«Sobre el enigma de 'los dos Cervantes,'» The American Hispanist, 2, xvi (1977), 10. (N. from the A.)

100

Parr, «Aesthetic Distance in the Quixote», in Studies in Honor of Gerald E. Wade, eds. Sylvia Bowman et al (Madrid: Porrúa Turanzas, 1979), pp. 191-97, and El Saffar, «Concerning Change, Continuity, and Other Critical Matters: A Reading of John J. Allen's Don Quixote: Hero or Fool?, Part II», Journal of Hispanic Philology, 4 (1980), 241- 46. (N. from the A.)