Calderón turns this wonderful simile into a memorable image of the mysterious madness of love in El pintor de su deshonra (Act I, ll. 759-62): «Acércate, pues, poco / al ruido de amor, verás / que está danzando a compás / el que piensas que está loco». It came to my attention after completing this paper that Carroll B. Johnson has located an earlier version of this figure, used to describe the psycho-physical effects of the humors in the work of Doña Oliva Sabuco de Nantes (1587), whose writing occupies a space -suggestive for our own inquiry- between anatomy and philosophy. See Johnson's Madness and Lust. A Psychoanalytic Approach to Don Quixote (Berkeley: University of California, 1982), pp. 34-35. This occurrence makes a common, classical source highly probable. (N. from the A.)

See Grahame Castor, Pléiade Poetics (Cambridge: Cambridge University Press, 1964); and Margaret W. Ferguson, Trials of Desire. Renaissance Defenses of Poetry (New Haven: Yale University Press, 1983). (N. from the A.)

Vilanova, pp. 585-86. (N. from the A.)

Obras de Garcilaso de la Vega con Anotaciones de Fernando de Herrera, facsimile ed. of Antonio Gallego Morell (Madrid: C.S.I.C., 1973). (N. from the A.)

Mary Gaylord Randel, The Historical Prose of Fernando de Herrera (London: Tamesis, 1971). (N. from the A.)

Tasso's Dialogues, ed. and trans. Carnes Lord and Dain A. Trafton (Berkeley: University of California Press, 1982), p. 15. (N. from the A.)

The Viaje del Parnaso is, of course, another case of an ambivalent epic discourse which describes a poetic journey. I take up that poem at length in my book. (N. from the A.)

The attacks against the pastoral and picaresque are less concentrated and overt than those made against the chivalric. As in the Coloquio de los perros, Cervantes attacks the pastoral in Don Quixote by presenting an implied contrast with the true nature of country life, and by revealing the devastations that result when characters leave home to pursue as a way of life the literary pastoral. The attacks against the picaresque are similarly oblique, calling principally into question the problem of form, narrative ending, and world vision implied in the making of a rogue's autobiography. The denunciations of the chivalric, on the other hand, are both consistent and overt, beginning with the prologue in Part I («todo él es una invectiva contra los libros de caballerías... [que]... no mira a más que a deshacer la autoridad y cabida que en el mundo y en el vulgo tienen los libros de caballerías»; «llevad la mira puesta a derribar la máquina mal fundada destos caballerescos libros, aborrecidos de tantos y alabados de muchos más»), and ending on the last page of Part II («no ha sido otro mi deseo que poner en aborrecimiento de los hombres las fingidas y disparatadas historias de los libros de caballerías»). (N. from the A.)

The faculty of imagination, in medieval and neo-Aristotelian Renaissance philosophy, was directly associated with the senses, and hence was seen as a property of being mankind shared with the animals. Aquinas says, in Question 84, Article 7: «Now sense, imagination, and the other powers belonging to the sensitive part make use of the corporeal organ». Intellect, on the other hand, belongs especially to human beings, and draws from the image-making faculty the apprehension of intentions not perceived through the senses. However, a competing view, new in the Renaissance, began to link imagination with love, and both with the creative powers, especially with regard to poetry, as John Dagenois points out in «El amor y el proceso creador en Lope de Vega», Anuario de letras 21(1983), 223-36. (N. from the A.)

The famous quotes come from the long mock-epic poem, published in 1614, the Viaje del Parnaso, Chapters I and IV, respectively. The Coloquio de los perros, whose talking dogs struggle with the principle of order against an overabundance of material streaming out of recalled experience, also exhibits the expansive imaginative faculty of Cervantes. His sympathy with characters given to excesses of imagination and invention is also evident in the portrayal of so many rogues and actors whose survival depends on their success at creating and sustaining, against the official view, a version of reality based on their own experiences in the world. Famous examples are Rinconete and Cortadillo, Pedro de Urdemalas, Chirinos and Chanfalla in «El retablo de las maravillas», the student in «La cueva de Salamanca», Doña Lorenza in «El viejo celoso», Master Peter and Basilio in Don Quixote Part II, and even Persiles and Sigismunda. For a detailed discussion of the rogue, and also of the role of neo-Aristotelian poetics in Cervantes' work, see Alban Forcione's Cervantes, Aristotle and the «Persiles» (Princeton: Princeton University Press, 1971). (N. from the A.)