Selecciona una palabra y presiona la tecla d para obtener su definición.
 

51

Véase Adrienne L. Martin, «La epistola bufonesca y la segunda parte de Don Quijote», trabajo leído en la tercera reunión de la Asociación de Cervantistas en Alcalá, noviembre de 1990; se publicará en las actas. Véase también la versión inglesa titulada «Public Indiscretion and Courtly Diversion: The Burlesque Letters in Don Quixote II».

 

52

In fact, only a few critics have dealt at length with Góngora's dramatic texts, although fortunately, Las firmezas de Isabela has received critical attention in the past years. The first critic to deal with the play was Robert Jammes in his 1967 Etudes sur l'oeuvre poétique de Don Luis de Góngora y Argote (translated into Spanish in 1987). Jammes's edition of Las firmezas appeared in 1984, one year after a meticulous study and edition by Laura Dolfi. Both editions are excellent, but I have used the Jammes edition as it is more readily available. See also chapter four of my Poetry as Play: Gongorismo and the Comedia.

 

53

Although his «real» name is Lelio, we will use «Camilo» for the most part to refer to this character since it is by this name that he is identified in the play.

 

54

See Robert Jammes and Ysla Campbell for the possible implications of Góngora's use of merchants as the main characters in his play.

 

55

See Ruth El Saffar's discussion of this aspect of Cervantes's tale in Distance and Control in Don Quijote 68-79.

 

56

See Marsha Collins for an eloquent discussion of this dialectic in Góngora's play. I am grateful to Prof. Collins for providing me with a copy of her unpublished essay.

 

57

As a married man whose union with Camila has been sanctified by a sacrament, Anselmo's experiment is much more dangerous than Camilo's. Anselmo is willing to sacrifice his honor in order to satisfy his curiosity. Camilo, on the other hand, wants to satisfy his curiosity before his honor (that of a married man) is truly at stake.

 

58

Also of interest in this respect is Góngora's incomplete play, El doctor Carlino. This unusual text seems to have been inspired in part by Cervantes's entremeses in its subversive, burlesque portrayal of the honor code. See chapter 5 of my Poetry As Play.

 

59

Citamos el Quijote por la edición de Juan Bautista Avalle-Arce, 2 vols., Madrid: Alhambra [1979], 1983.

 

60

Estudio este episodio en «Rebuznos de casta en el Quijote», ponencia inédita presentada a la Pennsylvania Foreign Language Conference, en Duquesne University, Pittsburgh, en septiembre de 1988. Aquí Cervantes tacha de asinina irracionalidad no sólo los venenosos motes de casta (cazoleros, berenjeneros, jaboneros) sino, en general, toda guerra civil. Y el que los del pueblo del rebuzno alcen bandera en la que iba pintado «un asno... como si estuviese rebuznando» (II.27:247) inevitablemente haría pensar en que los catalanes también lucían en el tahalí, como insignia del bando correspondiente, un cerdo (nyerro) o un perrillo (cadell). Véase John H. Elliott, The Revolt of the Catalans: A Study in the Decline of Spain (1598-1640), Cambridge: University Press, 1963, p. 75.