81
Apart from the studies mentioned in n. 2, and the edition of the poem by Schevill and Bonilla, I have drawn on the introductions and notes to the editions by F. Rodríguez Marín (Madrid, 1935), Vicente Gaos (Madrid, 1973), and M. Herrero García (Madrid, 1983). I have also consulted Ellen Lokos, «El lenguaje emblemático de El viaje del Parnaso», Cervantes 9 (1989), 63-74 and María A. Roca Mussons, «Antonio de Lo Frasso: un itinerario topológico en El viaje del Parnaso de Cervantes», Actas del II Congreso Internacional de Cervantistas (Barcelona, 1991), 731-754. (N. from the A.)
82
On the models of Viaje del Parnaso, see Benedetto Croce, «Due illustrazioni al Viaje del Parnaso de Cervantes», in Saggi della letteratura italiana del seicento (Bari, 1911), 125-59, and the introduction to F. Rodríguez Marín's edition of the poem. (N. from the A.)
83
Cf. Persiles II, Chapters 2 (i, 159), 12 (i, 249, and 19 (i, 309); Don Quijote II, 66; ii, 541. (N. from the A.)
84
On other precedents for Cervantes's allegorical figure of poetry see A. Porqueras Mayo, «Cervantes y la teoría poética», Actas del II Coloquio Internacional de la Asociación de Cervantistas (Barcelona, 1991), 83-98 (93-95); see also Alban K. Forcione, Cervantes and the Humanist Vision (Princeton, New Jersey, 1982), 215 ff. (N. from the A.)
85
They are, respectively, Bernardo de la Vega and Bernardo González de Bobadilla, both censured in the merry scrutiny, in Don Quijote I, 6. (N. from the A.)
86
See pp. 76 and 97-100 of the edition of the poem by R. Schevill and A. Bonilla. Herrero García, in his edition, speaks of Cervantes's deliberate policy of only mentioning still living poets in his allegorical voyage (p. 453). However (p. 803), he offers no evidence to support this claim in respect of problematic cases like that of Arbolánchez, author of Las Abidas (1566), the general of the army of bad poets. For the case of Lo Fraso, see María A. Roca Mussons «Antonio de Lo Fraso: un itinerario tipológico...», cited in n. 38. (N. from the A.)
87
E. g. II, 58; ii, 473; II, 59; ii, 482; II, 66; ii, 541. (N. from the A.)
88
The edition I have used is that of Florencio Sevilla Arroyo and Antonio Rey Hazas, Miguel de Cervantes: Teatro completo. Barcelona: Planeta, 1987. All emphasis in quotations from the text are mine. (N. from the A.)
89
The title is misleading in a way not dissimilar to the fame of don Fernando that Arlaxa and doña Margarita have heard about. It leads to certain expectations which the public is invited to examine as the drama unfolds. Cervantes likes to play with titles. Some are loaded with contradictions that would have immediately provoked a reaction in his readers: Don Quijote de la Mancha, La ilustre fregona, La española inglesa; others lead to expectations that are undermined or require reassessment -as in El gallardo español-: La gitanilla, La fuerza de la sangre, Rinconete y Cortadillo. (N. from the A.)
90
Sobre el diálogo cervantino, el lector puede consultar los siguientes ensayos: Juan Bautista Avalle-Arce, Don Quijote como forma de vida (Valencia: Fundación Juan March y Editorial Castalia, 1976), págs. 284-290; Anthony Close, «Characterization and Dialogue in Cervantes's 'Comedias en prosa'», MLR, 76: 338-356 (1981); Manuel Criado de Val, «Don Quijote como diálogo», AC, 5: 183-208 (1955-56); Luis Andrés Murillo, «Diálogo y dialéctica en el siglo XVI español», RUBA, 5a época, a. 4: 56-66 (1959); Walter L. Reed, «The Problem of Cervantes in Bakhtin's Poetics», Cervantes, 7, 2: 29-37 (1987); Elias Rivers, «Talking and Writing in Don Quijote, Thought 51: 296-305 (1976); Angel Rosenblat, La lengua del Quijote (Madrid: Gredos - Biblioteca Románica Hispánica, 1971), págs. 13-67; Alan S. Trueblood, «El silencio en el Quijote» en Letter and Spirit in Hispanic Writers: Renaissance to Civil War. Selected Essays (London: Tamesis Books Limited, 1986), págs. 45-64; también de Trueblood «La risa en el Quijote y la risa de Don Quijote», publicado en Letter and Spirit in Hispanic Writers en las páginas 65-82. (N. del A.)