Schevill remarks: «Since 1797 the assertion of Juan Antonio Pellicer that Damón in La Galatea is Pedro Laínez because Tirsi is Figueroa has met little opposition» («Laínez, Figueroa and Cervantes» 426). The joint exaltation of Laínez and Figueroa at the end of the «Canto de Calíope» (II, 224-5) is surely adequate proof that Damón in La Galatea represents Laínez. The conclusion drawn by Entrambasaguas (Obras de Pedro Laynez I, 184) that «Damón en otros autores, incluso La Galatea de Cervantes es dudosísimo o imposible, según los casos, que represente a Pedro Laynez» simply demonstrates the dangers of arguing from sporadic occurrences of common pastoral names in Golden Age texts (not infrequently of dubious attribution). Laínez's editor had himself earlier admitted that «Incluso para sus contemporáneos eran inseparables los nombres de Damón y Tirsi o de Laynez y Figueroa» (I, 142-3). The identification of «Larsileo» with Mateo Vázquez (see below, VI) points clearly to Lauso's being Cervantes. Laínez in documents is several times called «vecino de Madrid» (Pérez Pastor, Bibliografía madrileña, III, 391 ff.). Entrambasaguas mentions «la amistad íntima que hubo entre Laynez y Cervantes» (I, 109). Laínez's elegy on the death of Isabel de Valois is printed in the Marín Ocete ed. (144-52) and the Entrambasaguas ed . (II, 181-91), Cervantes's poems on the same theme in the Schevill and Bonilla ed. of the Poesías sueltas (11-18). (N. from the A.)

See the note in the Schevill and Bonilla ed., II, 288. The editors consider 1576 the preferable reference, giving «cisalpinos» the restricted Italian geographical sense. Cervantes, who probably borrowed the adjective from Sannazaro («Cisalpina Gallia» in «Prosa Settima», Carrera's ed. 58), no doubt. (N. from the A.)

Except for Cervantes's exclusion of romances, the correspondence for the whole of the two pastorals is virtually complete. See López Estrada's ed. of Montemayor (301-2) and his Estudio Crítico (152) for relevant lists. (N. from the A.)

See Fucilla, «A Rhetorical Pattern...», especially pp. 32-33, and p. 43, and López Estrada, Estudio crítico (149-51). Dámaso Alonso (Seis calas 96-7) stresses the importance of Veniero as «retransmisor de los procedimientos correlativos» in mid-century Italy, but admits that his followers were «muy oscuros poetas». In contrast, the fashion set by Groto spread through much of Western Europe. Fucilla (Estudios 180) notes the resemblance between Cervantes's poem and a sonnet by Veniero («Non punse, arse, o legò, stral, fiamma, o lacio»), but Ruta («Cervantes e i danni d'amore») questions Veniero as source, noting two poems by Paterno and one (in Sicilian dialect) by Veneziano that also resemble Galatea's sonnet. She suggests that Cervantes was responding to the general fashion for verse on «i danni d'amore» rather than to a specific poem. This, given the date (1579) of his octaves to Veneziano, may well be. Is it mere coincidence that Veniero's poem and Amalteo's (see below, note 49) should have appeared in the same 1569 anthology (Fucilla, Estudios 83)? Galatea's sonnet is studied by Dámaso Alonso in Seis calas (105-6) and Poesía española (165-6). (N. from the A.)

See Poesías sueltas (31-6) and Ruta («Le ottave di Cervantes per Antonio Veneziano e Celia»). (N. from the A.)

Poesías sueltas (6-18). (N. from the A.)

Kenneth P. Allen, «Cervantes' Galatea and the Discorso» (56-64). (N. from the A.)

In Don Quijote (I, 15), after the interpolation of four chapters, Cervantes restores the situation to the status quo ante, even repeating some phraseology («en buena paz y compañía»). A similar mannerism affects the interpolation of Galatea's sonnet: the reader is told that she sang it «en tanto que llegaba adonde su amiga Florisea creyó que estaría» (I, 57), and later that «el acabar el canto Galatea y llegar adonde Florisea estaba fue todo a un tiempo» (I, 58) (The italics are mine). (N. from the A.)

Francisco de la Torre, probably a friend of Cervantes (see Antonio Blanco Suárez 321-7) also wrote a sonnet closely based on Amalteo's (Poesías 70), but Cervantes's lines show coincidences with Amalteo's not present in Francisco de la Torre's poem. (N. from the A.)

See the Schevill and Bonilla ed., II, 285-6. (N. from the A.)