1
In addition to the discussions of love in book length studies on the Spanish pastoral novel, see specifically: Joaquín Casalduero, «La bucólica, la pastoril, y el amor», in Estudios de literatura española, 2a ed., (Madrid: Gredos, 1967), pp. 64-9. This same study appears in Norte. Revista Hispánica de Amsterdam, 7 (1966), 83-7. Other studies include: Françoise Vigier, «La folie amoureuse dans le roman pastoral espagnol (2e moitié de XVIe siècle)», in Visages de la folie (1500-1650): Domaine hispano-italien, eds. Augustín Redondo and André Rochon, (Paris: Pubs. de la Sorbonne, 1981), pp. 117-19; Samuel Gili Gaya, «Galatea o el perfecto y verdadero amor», in Homenaje a Cervantes, (Madrid: Cuadernos de Ínsula I, 1947), pp. 99-104; Teresa Herráiz, «Dos imágenes del amor en Cervantes», in Comunicaciones de literatura española, 1 (1972), 109-15; Jennifer Lowe, «The Cuestión de Amor and the Structure of Cervantes' Galatea», Bulletin of Hispanic Studies, 43 (1966), 98-108.
2
Among other sources for the conventions of pastoral literature, consult Thomas G. Rosenmeyer, The Green Cabinet: Theocritus and the European Pastoral Lyric, (Berkeley, Los Angeles, London: The University of California Press, 1969), and Pilar Fernández-Cañadas de Greenwood, Pastoral Poetics: The Uses of Conventions in Renaissance Pastoral Romances- Arcadia, La Diana, La Galatea, L'Astrée, (Madrid: José Porrúa Turanzas and Studia Humanitatis, 1983).
3
Helmut Hatzfeld, El «Quijote» como obra de arte del lenguaje, 2a ed., R. F. E. Anejo 83, (Madrid: Consejo Superior de Investigaciones Científicas, 1972).
4
Miguel de Cervantes Saavedra, La Galatea, ed. Juan Bautista Avalle-Arce, 2nd ed., 2 vols., (Madrid: Espasa Calpe, 1968), II, 113. All future references are to this edition and cite volume and page numbers in parentheses.
5
An interesting aspect of this problem of the unreliability of words, the failure of language, is studied by Mary Gaylord Randel in «The Language of Limits and the Limits of Language: The Crisis of Poetry in La Galatea», Modern Language Notes, 97 (1982), 254-71.
6
Fernando de Herrera, Obras de Garcilaso con anotaciones de Fernando de Herrera (1580); rpt., ed. Antonio Gallego Morell, «Clásicos Hispánicos», Serie I, vol. VII, (Madrid: Consejo Superior de Investigaciones Científicas, 1973), pp. 405 and 407. (This facsimile edition naturally repeats the error in pagination of the 1st edition, where these pages are printed as 504 and 507).
7
For pastoral as eroticism, a good starting point is Renato Poggioli's The Oaten Flute: Essays on Pastoral Poetry and the Pastoral Ideal, (Cambridge: Harvard University Press, 1975).
8
An excellent introduction to amor hereos is John Livingston Lowes' «The Loveres Maladye of Hereos», Modern Philology, 11 (1914), 491-546. An extensive bibliography on the theme can be found in my unpublished doctoral thesis, «Love Melancholy in the Spanish Pastoral Novel», University of Illinois, 1984.
9
Cervantes' rejection of the pastoral mode is studied by Joaquín Casalduero in «Cervantes rechaza la pastoril y no acepta la picaresca», in Golden-Age Studies in Honour of A. A. Parker, ed. Melveena McKendrick, Bulletin of Hispanic Studies, 61 (1984), 283-85.
10
The codified language of lovers has been documented for the Cancioneros. See, for example, Keith Whinnom, La poesía amatoria de la época de los Reyes Católicos, Durham Modern Language Series, Hispanic Monographs 2, (Durham: University Press, 1981), and Ian Macpherson, «Secret Language in the Cancioneros: Some Courtly Codes», Bulletin of Hispanic Studies, 62 (1985), 51-63. I believe that similar studies for the Spanish pastoral novel would yield similar results.