61
Miguel de Cervantes, Don Quijote de la Mancha, ed. Juan Bautista Avalle-Arce (Madrid: Alhambra, 1979) Part I, chapter 30, p. 375. (N. from the A.)
62
This paraphrase has been noticed by many critics. See Arturo Marasso, Cervantes (Buenos Aires, 1947) p. 101. (N. from the A.)
63
Bruce Wardropper emphasizes Don Quijote's «failure
to discriminate between history and story»
in his article «Don
Quijote: Story or History?»
Modern Philology 63 (1965) 1-11. (N. from
the A.)
64
See Marasso 110. (N. from the A.)
65
Or perhaps they are remembering the Aeneid. Marasso compares Merlin to Virgil's Sibyl (139). (N. from the A.)
66
In this way Cervantes anticipates Paul Valéry's
insight into «la naïve et bizarre
structure de notre croyance au 'passé'»
from
«Fragments des mémoires d'un poème» in
Oeuvres, Bibliothèque de la
Pléiade, vol. 1 (Paris: Gallimard, 1957) p. 1469. (N. from the
A.)
67
See Marasso, pp. 39-44 and Michael McGaha, «Fuentes y sentido del episodio del 'Yelmo de Mambrino' en el Quijote de 1605» in Cervantes: su obra,y su mundo, ed. Manuel Criado de Val (Madrid, 1981) 743-47. (N. from the A.)
68
Confirming Cervantes' parody of the divine armor of Aeneid VIII, McGaha suggests another parallel to the underworld voyage of Aeneid VI, reinforcing the prophetic associations of the helmet. McGaha argues convincingly for Cervantes' rejection of the supernatural elements in Virgil and I would suggest that prophecy, being supratemporal, is one of the main such elements. Moreover, in rejecting epic temporality, Don Quijote may be said to reject the epic itself or rather to declare that form irrevocably past. (N. from the A.)
69
See for example the edition of Vicente Gaos (Madrid: Gredos, 1987), who cites Clemencín's commentary on I, 21. (N. from the A.)
70
«El arte cervantino en el capítulo XXI de la primera parte del Quijote» in Studia hispanica in honorem R. Lapesa (Madrid, 1972) vol. 1, pp. 571-86. (N. from the A.)