1
«A Premonition of Pastoral in Amadís de Gaula», BHS, LIX (1982), 226.
2
Mary Gaylord Randel and Ruth El Saffar are notable exceptions, although their conclusions fall beyond the purview of this study. See Randel's «The Language of Limits and the Limits of Language; The Crisis of Poetry in La Galatea», MLN, XCVII (1982), 254-71; and El Saffar's «La Galatea: The Integrity of the Unintegrated Text», in Cervantes: su obra y su mundo (Madrid: EDI-6, 1981), 345-53. More typical studies are included in the notes and bibliography of Amadeu Solé-Leris, The Spanish Pastoral Novel (Boston: Twayne, 1980).
3
Cervantes' several remarks about literary categories in the Prologue are harbingers of the rich comments about theory in his later works. See Elizabeth Rhodes, «The Poetics of Pastoral: The Prologue to La Galatea», Cervantes and the Pastoral, eds. José Labrador and Juan Fernández (Cleveland: Cleveland State U. P., 1986), 139-55.
4
Quotations from the text of La Galatea are from the edition of Juan Bautista Avalle-Arce, 2 vols. (Madrid: Espasa-Calpe, 1961), and cite volume and page numbers.
5
Quotations from Don Quijote are from the edition of Martín de Riquer, 2 vols. (Barcelona: Editorial Juventud, 1971), and cite volume and page numbers.
6
Bruce Wardropper makes clear the distinction in «Don Quijote: Story or History?», Modern Philology, LXIII (1965), 1-11.
7
Wardropper, «Don Quijote», 1-3.
8
To translate «libros de pastores» as «shepherds' books» would be awkward and also would draw attention away from the important role of women in this type of fiction. The word «libros» has always been used to describe not only the totality of these books, but the chapters in them as well. López Estrada insists on usage of the original term. Cf. Los libros de pastores en la literatura española (Madrid: Gredos, 1974).
9
The word «mode» is used as defined by Robert Scholes, «Towards a Poetics of Fiction: An Approach through Genre», Novel, 2 (1969), 101-11. Some of the many forms through which the pastoral mode may be evoked are presented in Renato Poggioli, The Oaten Flute. Essays on Pastoral Poetry and the Pastoral Ideal (Cambridge, Mass.: Harvard U. P., 1975).
10
The representative anecdote refers to the limited set of circumstances necessarily selected by an author through which to represent the human condition. See Paul Alpers, «What Is Pastoral?» Critical Inquiry, VIII (1982), 436-60. Thomas Hart considers «Rinconete y Cortadillo», «La gitanilla», and «La ilustre fregona» as pastoral in «Versions of Pastoral in Three Novelas ejemplares», BHS, LVIII (1981), 283-91; Frederick A. de Armas considers caves to be a pastoral feature in his «Caves of Fame and Wisdom in the Spanish Pastoral Novel», Studies in Philology, LXXXII (1985), 332-58.