101
I find it impossible to accept Jehenson's parenthesis in this
statement:
«At the crucial moment she is seduced (raped?) not
only by Don Fernando but by her own social desire...»
(216). (N. from the A.)
102
«Cada interrupción le
sirve a Cervantes para incorporar el relato a los oyentes de una manera
vital»
(Casalduero 142); they also very much remind us of
the fact of an audience, of the context which includes Cardenio's tribulations.
(N. from the A.)
103
Gayton rather enhances the attractiveness of the voice and
the suspense imposed by the structure: the fourth reason adduced for the
curate's silence at the end of Cardenio's tale is
«another extraordinary pleasant voice, drew them all
by the ears unto it. It was so ravishing a voice, that it was able to compose
the troubled soule of
Cardenio; who weary with the sad
relation of his own Story, is now at leisure to heare this, which that it may
gaine all its grace, the Author places us a roome off from the Musick, and only
in this Booke, gives us the echo and falling tunes; but in the next you shall
have the fulnesse of the melody, the Beautie of the person, which he
sufficiently invites us to, while he raises in us appetite, which will not be
satisfied without tasting»
(167-68). (N. from the A.)
104
Casalduero misquotes the key word as
«'¡Ay
desdicha!'»
(140); on the basis of my interpretation the
adjective is rendered somewhat inexact in his later reference to
«la sorprendente
aparición de la mujer»
(141). (N. from the A.)
105
To defend presuming actions to accompany the words, I cite a
priestly precedent of Cervantes's own time:
«En este verso
[of his fourth penitential psalm]
Dauid pone por obra lo que en el
passado dixo de si mismo. Alli afirmò que conocia su pecado, y le
confessaua: y por mostrarlo en la obra, entra aora acusando[s]e delante de
Dios, (y quiça dandose en los pechos golpes)
[...]»
(Vega fol 124v). (N. from the A.)
106
As such he is portrayed, for example, by the artist Joseph Castillo and the engraver J. Joaquín Fabregat in the 1780 Real Academia Española edition of the Quijote (Ilustraciones n. p.) (N. from the A.).
107
«Dorotea correrá a
ahogar entre las cuerdas de su arpa el interior desasosiego que aquellas
pasmarotas de libros [of chivalry]
nada devotos sólo podían
atizar vanamente»
(Márquez Villanueva 1975, 28). (N. from the
A.)
108
There is a decided echo of Juan Luis Vives here, from the
opening chapters of the first book, «Instrucción de las
vírgenes», of his
Libro llamado Instrucción de la mujer
cristiana in Juan Justiniano's 1528 translation from the Latin. I cite two
examples:
«Aprenderá, pues, la
mochacha juntamente letras, hilar y labrar, que son ejercicios muy
honestos»
(I: 3, 22) and
«Pero que lea buenos libros
compuestos por santos varones, los cuales pusieron tanta diligencia en
enseñar a los otros bien vivir como ellos vivieron, esto me paresce no
sólo útil, mas aun necesario»
(I: 4, 24). How better to impress a religious than
to paraphrase these widely available and highly praised instructions? (N. from
the A.)
109
She omits any reference to a signed pledge of marriage,
though we later learn from her that there is one, as she recalls to Fernando:
«'quieras o no quieras, yo soy to esposa...; testigo
será la firma que hiciste...'»
(I: 36, 443). Had there been no such
«oversight» the theme of victimization might have been weakened.
(N. from the A.)
110
Vives knew the danger well:
«ya no se leen otros libros
sino vulgares, do no hallaréis otra materia sino de armas y de amores,
de los cuales libros soy cierto que no había de hablar de lo que se
debría hacer dellos, si hablo con cristianos, y que es menester decir
cuán gran peste es añadir alquitrán al fuego ardiendo...
Hágote saber que no es muy católico el pensamiento de la mujer
que se ceba en pensar en las armas y fuerzas de brazos del
varón»
(I: 5, 29). Of course Dorotea in her narrative
would cite only the texts which could help her cause. (N. from the
A.)