31
This is the time of the pragmatic sanction in Austria, when Charles VI in an edict (1713 and 1724) secured the succession to the throne for a daughter. In fact, his daughter, Maria Theresia, born in 1717 ascended the throne in 1740.
32
Translation: The booklets are available in Italian and German at the entrance of the theatre.
33
In older Spanish folklore books the «hablada» is described as a dance play spoken and sung which used to be performed outside, in a plaza or the common, during a village feast. In Part II, Chapter XX, Cervantes includes an «hablada» during the wedding celebration of the rich Camacho.
34
18 The history of the Chaconne is in itself quite interesting. Mentioned by Cervantes in the 'novela ejemplar ' La Ilustre Fregona as a dance coming from the Americas, possibly Cuba, it made its way into music via the principle of the ostinato bass. The dance itself was in uneven measure with primitive forms of repetition. It is closely related to the Portuguese follia and the Italian passacaglia. All three played an important role in the instrumental music of the 17th and 18th century. One of the most famous chaconnes as instrumental music is Johann Sebastian Bach's Violin Chaconne.
35
For a summary of these criticisms, see the first chapter of Forcione's Cervantes' Christian Romance, pp. 13-63.
36
El Saffar explores the psychological and spiritual significance of most of the love affairs in the work; see pp. 127-169.
37
For a study of the couples in their relation to society from a Girardian perspective, see Patrick Henry, «Old and New Mimesis in Cervantes».
38
Ruth El Saffar, Distance and Control in Don Quixote: A Study in Narrative Technique, North Carolina Studies in the Romance Languages and Literatures, no. 147 (Chapel Hill: U.N.C. Department of Romance Languages, 1975), 117.
39
Although I am aware of Parr's scheme of narrators/authors and readers (see James A. Parr, Don Quixote: An Anatomy of Subversive Discourse (Newark, Delaware: Juan de la Cuesta, 1988)), here I am interested in what he calls the «Real Reader», the actual person who sits and reads Cervantes's novel. Hereafter I refer to this reader as «the Reader» to distinguish him/her from the readers within Don Quijote.
40
Since there is no word in the English language that means both «story» and «history», I will use the Spanish «historia» when I mean both these words at the same time and when I wish to preserve the ambiguity of the Spanish term. For a discussion of this term and the difficulties of the notions of story and history, see Bruce W. Wardropper, «Don Quixote: Story or History?» Modern Philology 63 (1965): 1-11; rpt. in Ruth El Saffar, Critical Essays on Cervantes (Boston: G. K. Hall, 1986), 80-94.