121
«Cervantes' Quijote and the Critical Illusion», MLN 94 (1979), p. 716. (N. from the A.)
122
Op. cit., p. 70. (N. from the A.)
123
«Cooperative Mimesis: Don Quixote and Sancho Panza», Diacritics 8 (1978), p. 83. (N. from the A.)
124
Ibid., p. 84. (N. from the A.)
125
I take these expressions from Bandera's conclusion to his chapter on the Persiles, p. 132. (N. from the A.)
126
In «Literature and Desire: Poetic Frenzy and the Love Potion», Mosaic 8, (1975), p. 46, Bandera discusses briefly the trickster figure in the context of Tristan. He sees Tristan, as trickster, as «the source of peace and prosperity» and «the rock against which all peace and prosperity will stumble». In Cervantes' work, it seems to me, there is an evolution from trickster to savior, but the two are never embodied in the same character. The difference can be seen clearly in the contrast between Maese Pedro's illusion-making, and Persiles' mastery over illusion. The one works in the service of his own self interest, the other, in the service of God's purpose for him. (N. from the A.)
127
I have tried to approach this subject in a recently-published article that was written many years ago, «Periandro: Exemplary Character-Exemplary Narrator», Hispanófila 23 (1980), 9-16. A much fuller treatment of the topic will appear in my forthcoming book on the long novels of Cervantes. (N. from the A.)
128
Bruno Bettleheim's treatment of The Thousand and One Nights in The Uses of Enchantment (New York: Alfred A. Knopf, 1977) offers an example of how the telling of tales can have a transformative effect on the listener. La Galatea and Don Quixote Part I can also be rewardingly studied if the interaction between story and listener is taken into account. I find such a possibility of transformation through fiction lacking, for obvious reasons, in Bandera's study. (N. from the A.)
129
Op. cit., p. 709. (N. from the A.)
130
Frye, Fearful Symmetry, p. 392. (N. from the A.)