Luis Astrana Marín, Vida ejemplar y heroica de Miguel de Cervantes Saavedra (Madrid: Reus, 1948-58), IV, 454-456. (N. del A.)

Lo indiqué en The Golden Dial, pp. 71-74, 94, 114, donde propuse (Cap. 3) una cronología hipotética para la redacción de los distintos episodios de la obra de 1605. Véase también John J. Allen, «Autobiografía y ficción: El relato del capitán cautivo», Anales Cervantinos, 15 (1978), 149-155. (N. del A.)

The role played by Cide Hamete Benengeli, Cervantes' surrogate author, has been studied by many critics, among them Haley, Riley, Wardropper, Forcione, Allen, El Saffar, Percas. Edward C. Riley's article «Three Versions of Don Quixote», Modern Language Review, 68 (1973), 807-19, and John J. Allen's «The Narrators, the Reader and Don Quijote», Modern Language Notes, 91 (1976), 201-12, are significant contributions toward a more perceptive understanding of the surrogate author's role. Allen indicates the need to differentiate between what the author says and what Cervantes implies. As in my paper «Sobre el enigma de 'los dos Cervantes,'» The American Hispanist, 2 (March, 1977), 9-11, in the present paper I attempt to show Cide Hamete's function within the novel and the extent of his participation in the writing of it. (N. from the A.)

Earlier writers invented chroniclers to authenticate their fictions. See Bruce W. Wardropper, «Don Quixote: Story or History», Modern Philology, 63 (1965); also Allen, Percas. (N. from the A.)

See note 34 to chapter 43 of his edition of Don Quijote. What is inadmissable is to believe that the contradiction is not intentional on Cervantes' part. (N. from the A.)

On the analogy between writing, weaving, and painting in Cervantes' novel, see Louis C. Pérez, «El telar de Cervantes», Filología y crítica hispánica, Homenaje al profesor F. Sánchez-Escribano, Editado por A. Porqueras y C. Rojas (Emory University: Ediciones Alcalá, 1969), pp. 99-114; «Wilder and Cervantes: In the Spirit of the Tapestry», Symposium (Fall, 1971), 249-59; «The Theme of the Tapestry in Ariosto and Cervantes», Revista de estudios hispánicos, 7 (1973), 289-98). (N. from the A.)

Catherine of Siena is explicit about the mystic's change of identity in union with God: «I am no longer the same person I was yesterday... I have been changed into someone else» (Joseph M. Perrin, Catherine of Siena, trans. Paul Barrett [Westminster, Maryland: Newman Press, 1965], 1 p. 67). (N. from the A.)

For other themes superimposed on the same data, and for a detailed demonstration of Cervantes' style of writing along several levels, see: Helena Percas de Ponseti, «La cueva de Montesinos», Revista hispánica moderna, Homenaje a Federico de Onís, I (1968), 336-99); and chapters seven and eight of Cervantes y su concepto del arte (Madrid: Gredos, 1975), pp. 407-583. References not included in these works which, taken together, substantiate my demonstration that different valid readings of the same episode can be made, are: Robert Hollander, «The Cave of Montesinos and the Key of Dreams», The Southern Review, 4 (1968), 756-67; Juan Bautista Avalle-Arce, «Don Quijote, o la vida como obra de arte», Cuadernos hispano-americanos, N.º 242 (Feb., 1970), 247-80; Harry Sieber, «Literary Time in the 'Cueva de Montesinos,'» Modern Language Notes, 86 (1971), 268-73; Peter N. Dunn, «La cueva de Montesinos por fuera y por dentro, estructura épica, fisonomía», Modern Language Notes, 88 (1973), 190-202; André Labertit, «Estilística del testimonio apócrifo en el Quijote (Estudio del cap. 23 de la 2.ª Parte)», in Venezia nella letteratura spagnola e altri studi barocchi (Pisa: Universià degli studi di Pisa, Facoltà di lettere e filosofia, 1973), pp. 137-61. (N. from the A.)

See Guillermo Díaz-Plaja, «El retablo de Maese Pedro», Insula, 204 (1963), 1; George Haley, «The Narrator in Don Quijote: Maese Pedro's Puppet Show», Modern Language Notes, 80 (1965), 148; and John J. Allen, «Melisendra's Mishap in Maese Pedro's Puppet Show», Modern Language Notes, 88 (1973), 330-35. (N. from the A.)

Goya's print, «Tú que no puedes» ('I dare you'), from the Caprichos series, seems to have been inspired by this episode. The print represents two brutish looking men holding two contented asses on their shoulders. (N. from the A.)