Avalle-Arce, for example, says that Cervantes knew Amadís de Gaula «al dedillo» (65). (N. from the A.)

Don Quijote, II, 25, 236. These and all subsequent references will be to the Luis A. Murillo edition. (N. from the A.)

When Amadís orders all of the freed captives to present themselves to Oriana it also reminds us of the galeotes episode in Don Quijote (I, 22), even though there are countless other such episodes in Amadís as well as the other romances. (N. from the A.)

I am indebted to Amy Williamsen for the interesting suggestion that the scenes of chivalric demands in Don Quijote could be intentional parodies of the typical «convert or die» demands of the romances. (N. from the A.)

It is odd that Efron, who insists that Don Quijote is a follower of chivalric patterns rather than an «individual», calls this a «stock scene» without mentioning this comic inversion (30). (N. from the A.)

An exception could be Don Quixote's destruction of Maese Pedro's puppet show (II, 25), during which he is temporarily taken over by the illusion and transports himself back to the Middle Ages. (N. from the A.)

Note that in the Avellaneda Quijote, while Sancho freely throws around the insults of «paganos» and «luteranos» (actors' episode, Ch. 26), and the false Don Quijote fights with the gentleman's page over whether he really is a pagan or not, he never tries to convert anyone. (N. from the A.)

On the interpretation of the Zoraida tale, see Márquez Villanueva's analysis in Personajes, 115-46. Also see Alison Weber's interesting article on the subject. (N. from the A.)

That is, the many who believe that Cervantes was a converso and that Don Quijote is noticeably unenthusiastic on the subject of Christianity might also point to the lack of conversion episodes. On Cervantes's religious views and their possible reflection in his literary work, see Daniel Eisenberg's extended commentary and references in his book on the Quijote (1987), 13-15, n. 40. In the same book he also cites the major evidence for Cervantes's converso heritage (148-149). Also see Canavaggio, Ch. 1. (N. from the A.)

100

On the other hand, there seems to be evidence that Zoraida was based upon a real person, the daughter of Agi Morato. Cf. Eisenberg (1987), 102, n. 87. Also see Márquez Villanueva (141-42) on the tradition of the enamoured saracena. (N. from the A.)