5— The Burlesque Sonnets in Don Quixote
1. References to the Quixote poems refer only to the sonnet encomiums and epitaphs surrounding the text. Unless otherwise noted, they exclude the poetry contained within the body of the novel, as well as the preliminary and closing verse in other meters.
2. Pierre Lioni Ullman, "The Burlesque Poems which Frame the Quijote," Anales Cervantinos 9 (1961-1962): 213.
3. Ibid. Here Ullman is quoting and adapting the words of Raymond Willis, The Phantom Chapters of the "Quijote" (New York: Hispanic Institute, 1953): 47.
2. Pierre Lioni Ullman, "The Burlesque Poems which Frame the Quijote," Anales Cervantinos 9 (1961-1962): 213.
3. Ibid. Here Ullman is quoting and adapting the words of Raymond Willis, The Phantom Chapters of the "Quijote" (New York: Hispanic Institute, 1953): 47.
4. Vilanova, "La Moria de Erasmo y el prólogo del Quijote, " 423-424.
5. See, for instance, the preliminaries to Lope's Arcadia (1598), Isidro (1599), La hermosura de Angélica (1602), and, especially, El peregrino en su patria (1604). Among the contributing "poetas celebérrimos" to whom Cervantes alludes are Quevedo and Lope's Sevillian Maecenas Juan de Arguijo. The most important "dama" is Camila Lucinda (Micaela de Luján), Lope's analphabetic lover.
6. Over the years, many Cervantists have attempted to untangle the different authorial voices in Don Quixote . Bibliography and most recent study in Santiago Fernández Mosquera, "Los autores ficticios del 'Quijote,'" Anales Cervantinos 24 (1986): 47-65.
7. Marcel Bataillon, "Urganda entre Don Quijote y La pícara Justina, " in Varia lección de clásicos españoles (Madrid: Gredos, 1964): 296. Luis Astrana Marín says much the same to explain the errors he perceives in some of the preliminary verses in his Vida ejemplar y heroica de Miguel de Cervantes Saavedra, 7 vols. (Madrid: Reus, 1948-1958) 5: 588-589.
8. Bataillon, "Urganda entre Don Quijote y La pícara Justina, " 297.
9. Cervantes was not the only contemporary writer to decry the custom of hyperbolic laudatory sonnets. Luis Barahona de Soto makes reference to it in his Diálogos de la Montería, and Cristóbal Suárez de continue
Figueroa bitterly criticizes "el vicio de soneticos mendigados [the vice of little begged sonnets]" in his Passagero . Texts quoted in Rodríguez Marín's ten-volume edition of the Quijote (Madrid: Atlas, 1947-1949) 1: 21 n. 1.
10. See, for example, P. E. Russell, " Don Quijote as a Funny Book," Modern Language Review 64 (1969): 312-326; Daniel Eisenberg, "Don Quijote and the Romances of Chivalry: The Need for a Re-examination," Hispanic Review 41 (1973): 511-523; Anthony Close, "'Don Quixote' as a burlesque novel," chap. 1 of The Romantic Approach to "Don Quixote" (Cambridge: Cambridge University Press, 1977); John Weiger, " Don Quijote : The Comedy in Spite of Itself," Bulletin of Hispanic Studies 60, 4 (1983): 283-292, and Edwin Williamson, "'Intención' and 'Invención' in the Quixote, " Cervantes 8, 1 (1988): 7-22. Russell and Eisenberg have further developed their early theories regarding the comedic nature of Cervantes's great novel in the former's Cervantes (Oxford and New York: Oxford University Press, 1985) and the latter's "The Humor of Don Quixote, " chap. 4 of A Study of "Don Quixote" (Newark, Del.: Juan de la Cuesta, 1987). However, both authors make either no reference or only passing reference to the sonnets in their respective studies.
11. Wenceslao Fernández Flórez, El humor en la literatura española (Madrid: Suez, 1945): 10.
12. Ibid., 27.
11. Wenceslao Fernández Flórez, El humor en la literatura española (Madrid: Suez, 1945): 10.
12. Ibid., 27.
13. Close, The Romantic Approach to "Don Quixote," 28.
14. In turn, Agustín Redondo has published four incisive essays in which he applies Bakhtin's insights to the carnivalesque aspects of Cervantes's masterpiece: "Tradición carnavalesca y creación literaria. Del personaje de Sancho Panza al episodio de la ínsula Barataria en el 'Quijote,'" Bulletin Hispanique 80, 1-2 (1978): 39-70; "El personaje de Don Quijote: Tradiciones folklórico-literarias, contexto histórico y elaboración cervantina," Nueva Revista de Filología Hispánica 29 (1980): 36-59; "Del personaje de Aldonza Lorenzo al de Dulcinea Del Toboso: Algunos aspectos de la invención cervantina," Anales Cervantinos 21 (1983): 9-22; and "De Don Clavijo a Clavileño: Algunos aspectos de la tradición carnavalesca y cazurra en el 'Quijote,'" Edad de Oro 3 (1984): 181-199. Also Manuel Durán, "El Quijote a través del prisma de Mikhail Bakhtine: carnaval, disfraces, escatología y locura," Cervantes and the Renaissance, Papers of the Pomona College Cervantes Symposium, November 16-18, 1978, Michael D. McGaha, ed. (Easton, Pa.: Juan de la Cuesta, 1980): 71-86. On the sociohistorical phenomenon of Carnival and other carnivalesque festivals, see Claude Gaignebet and Marie-Claude Florentin, Le carnaval: essais de mythologie populaire continue
(Paris: Payot, 1974) and for Spain, Julio Caro Baroja, El carnaval (análisis histórico-cultural ) (Madrid: Taurus, 1965).
15. Bakhtin, Rabelais and His World, 10.
16. Ibid., 11.
17. Ibid., 40-41.
15. Bakhtin, Rabelais and His World, 10.
16. Ibid., 11.
17. Ibid., 40-41.
15. Bakhtin, Rabelais and His World, 10.
16. Ibid., 11.
17. Ibid., 40-41.
18. Cervantes makes reference to these masquerades and, more directly, to the constant metamorphoses of people and objects within the work when, through Gandalín, he calls himself "español Ovidio" (Appendix 35). Discussion of the diegetic masks that complement the mimetic in James A. Parr, Don Quixote: An Anatomy of Subversive Discourse (Newark, Del.: Juan de la Cuesta, 1988).
19. As Francisco Márquez Villanueva has pointed out, in Philip III's new Valladolid court "se redescubren la risa, la diversión y el galanteo justo al mismo tiempo que Cervantes da postrera lima a su Ingenioso hidalgo [laughter, diversion, and gallantry are rediscovered precisely when Cervantes is putting the finishing touches on his Don Quixote ]." See Márquez Villanueva, "La locura emblemática en la segunda parte del Quijote, " 104.
20. Madariaga is cited in Miguel de Cervantes, Poesías completas 2: 233; Clemencín, in his 1833 edition of the Quijote .
21. Don Belianís's language is very similar to that used in a burlesque epitaph Lope included in his 1602 Rimas . The poem's epigraph is "De Filonte, Bravo" and the text reads: "Hendí, rompí, derribé, / rajé, deshice, rendí, / desafié, desmentí, / vencí, acuchillé, maté. / Fui tan bravo, que me alabo / en la misma sepultura. / Matóme una calentura, / ¿cuál de los dos es más bravo? [I split, I slashed, I smote, / I rent, I destroyed, I conquered/I challenged, I disproved/I vanquished, I stabbed, I killed. / I was so fierce that I praise myself/on my own grave. / A fever killed me, / which is the more fierce of the two?]." Cervantes could very possibly have recalled Lope's poem to parody it when creating Don Belianís's sonnet.
22. There is an excellent modern critical edition of this work: Diego Ortúñez de Calahorra, Espejo de príncipes y cavalleros [El cavallero del Febo], ed. Daniel Eisenberg, 6 vols. (Madrid: Clásicos Castellanos, 1975).
23. On the world upside-down theme in contemporary literature, see L'image du monde renversé et ses represéntations littéraires et para-littéraires de la fin du XVIe au milieu du XVIIe, Colloque International, Tours, November 17-19, 1977, comp. Jean Lafond and Augustin Redondo (Paris: Vrin, 1979). On the theme in general, especially as related to Carnival, see Giuseppe Cocchiara, Il mondo alla rovescia (Turin: Paolo Boringhiere, 1963) and Frédérick Tristan and Maurice continue
Lever, Le monde à l'envers (Paris: Hachette, 1980). On the classical origins of the theme as literary topos, see Curtius, European Literature and the Latin Middle Ages, 94-98. A complete study of the "mundo al revés" theme in Spanish literature is yet to be done.
24. Examination of the world upside-down theme as represented on Spanish aleluyas in Helen F. Grant, "El mundo al revés," Hispanic Studies in Honour of Joseph Manson, ed. Dorothy M. Atkinson and Anthony H. Clarke (Oxford: Dolphin, 1972): 119-137; "The World Upside-Down," Studies in Spanish Literature of the Golden Age Presented to Edward M. Wilson, ed. R. O. Jones (London: Tamesis, 1973): 103-135; and "Images et gravures du monde à l'envers dans leur relations avec la pensée et la littérature espagnoles" in L'image du monde renversé, 17-33. Excellent reproductions of world upside-down iconography are presented in Tristan and Lever.
25. Grant, "The World Upside-Down," 111.
26. Ibid., 106. Also Augustin Redondo, "Monde à l'envers et conscience de crise dans le 'Criticón' de Baltasar Gracián," in L'image du monde renversé, 83-97.
25. Grant, "The World Upside-Down," 111.
26. Ibid., 106. Also Augustin Redondo, "Monde à l'envers et conscience de crise dans le 'Criticón' de Baltasar Gracián," in L'image du monde renversé, 83-97.
27. Detailed analysis of Sancho as a carnivalesque figure, especially with respect to his government, is given in Redondo, "Tradición carnavalesca y creación literaria."
28. Redondo, "Tradición carnavalesca y creación literaria," 51-52.
29. Volume 2, p. 12 of Rodríguez Marín's 1947-1949 edition of the Quijote . Rodríguez Marín adds that: " Buen hombre equivale en pasajes como el del texto ( DQ [ Don Quixote ] I: 17) a pobre hombre, y ser un pobre hombre y ser un pobre diablo, como, a la francesa, decimos hoy, son locuciones equivalentes [In passages such as this ( DQ I: 17), buen hombre means the same as 'poor man' and to be a 'poor man' and a poor devil, as we say today following the French, are equivalent expressions]." At times the term could even mean cuckold, hence the popular saying "A semejante buen hombre llaman cornudo en mi tierra [Such a good man is called cuckold in my land]."
30. Bakhtin notes how the carnival dummy who represents the dying year is "mocked, beaten, torn to pieces, burned, or drowned even in our time" ( Rabelais and His World, 197). On the uncrowning and death of Carnival in Spanish festivities, see Caro Baroja, El carnaval, 108 ff.
31. Caro Baroja, El carnaval, 83.
32. For example, Anton Francesco, Doni's L'Asinesca Gloria dell'inasinato accademico pellegrino (Venice, 1553), Ortensio Lando's mock sermon on the ass contained in his Sermoni Funebri (Venice, 1548), and Adriano Banchieri's 1592 La nobiltà dell'asino di Attabalippa dal Perù Provincia del Mondo novo, tradotta in lingua italiana (Venice, 1623). break
33. "Segunda parte del coloquio del Porfiado" in Dialogos del Ilustre Cavallero Pero Mexia ([1547] Madrid: F. X. García, 1767): 171-191.
34. See, for example, Avian's fable of the ass wearing a lion's skin ("De Asino Pelle Leonis Induto") who rears up and brays, revealing his true self. The foolish animal is finally thrashed by the farmer, who informs him that "at mihi, qui quondam, semper asellus eris [to me you will always be a donkey as before]." Minor Latin Poets, Introductions and English translation by J. Wight Duff and Arnold M. Duff (Cambridge: Loeb Classical Library, 1934): 688-691. The farmer's comment will be echoed by Rocinante when in his dialogued sonnet with Babieca he affirms that "Asno se es de la cuna a la mortaja."
35. Tristan and Lever, Le monde à l'envers, 32-34.
36. A seventeenth-century print depicting homo carnalis dining at table with an ass is reproduced in Caro Baroja, El carnaval, between pp. 48 and 49. See also Redondo, "Tradición carnavalesca y creación literaria," 45-46 on the ass as a symbol of lasciviousness.
37. The tossing of dogs, cats, and stuffed figures ( peleles ) in blankets was a traditional Carnival activity in Spain and is best depicted on Goya's cartoon "El Pelele." Cervantes alludes to this when he says of Sancho's mishap: "comenzaron a leventarle en alto, y a holgarse con él, como con perro por carnestolendas [they began to toss him high, having fun with him as they would with a dog during Mardi Gras time]" (I: 17).
38. Welsford, The Fool, 138.
39. Redondo, "Tradición carnavalesca y creación literaria," 51.
40. Paul Groussac, Une énigme littéraire: le D. Quichotte d'Avellaneda (Paris: Picard, 1903): 145-149.
41. Justo García Soriano, Los dos "Don Quijotes": Investigaciones acerca de la génesis de "El Ingenioso Hidalgo" y de quién pudo ser Avellaneda (Toledo: Rafael Gómez-Menor, 1944): 256. Soriano's thesis in this book is that Avellaneda, author of the apocryphal Quixote, was really Lope's great friend Alonso de Castillo Solórzano. He argues that this man wrote his continuation at Lope's request in order to avenge the insults against both of them contained in Cervantes's Quixote . One of these insults, according to Soriano, was being satirized under the guise of Solisdán.
42. However, this does not preclude the possibility of Cervantes having Castillo Solórzano in mind when he composed the poem; personal invective is an extremely important element of all the Quixote sonnets.
43. This fact supports Soriano's thesis of Solisdán being a mask for Castillo Solórzano, who also composed verses in Old Castilian.
44. Lope incorporated fabla into several of his historical plays in continue
a misguided attempt to imitate the language of the Visigoths. See, for example, El último godo, Las famosas asturianas, El conde Fernán González, Los prados de León, and especially, Las Batuecas del Duque de Alba . Lope finally became disenchanted with fabla and abandoned it after 1620.
45. See poems 2, 4, 8, 21, 59, 63, and 65 in Lasso de la Vega's 1601 Manojuelo de romances (Madrid: Saeta, 1942).
46. Text of Góngora's poem in Romances, 248-255; Quevedo's in Obra poética 2: 464-467. There are undoubtedly more such satirical equine dialogues to be found in the various seventeenth-century romanceros and florestas .
47. Redondo, "El personaje de Don Quijote," 50.
48. History of this incident and text of both poems in Emilio Orozco Díaz, Lope y Góngora frente a frente (Madrid: Gredos, 1973): 26-39.
49. Redondo, "El personaje de Don Quijote," 37.
50. Américo Castro, "El Quijote, taller de existencialidad," Revista de Occidente 5, 52 (1967): 1-31.
51. Francisco Márquez Villanueva, Fuentes literarias cervantinas (Madrid: Gredos, 1973): 312-320. Also by the same author, "El mundo literario de los académicos de la Argamasilla," La Torre 1, 1 Nueva Epoca (January-March 1987): 9-43.
52. Even these two short compositions differ somewhat from the standard verse forms generally used for the epigram. In them Cervantes uses the copla de arte menor (in abba acca), a meter in disuse since the second half of the fifteenth century and thus archaizing here. He employs the same poetic form for Grisóstomo's epitaph (I: 14). By association this gives the scene of the pseudoshepherd's interment, which is typically interpreted as quite serious, a decidedly burlesque slant.
53. On the university vejamen, see Aurora Egido, "De ludo vitando. Gallos áulicos en la Universidad de Salamanca," El Crotalón. Anuario de Filología Española 1 (1984): 609-648.
54. María Soledad Carrasco Urgoiti, "Notas sobre el vejamen de academia en la segunda mitad del siglo XVII," Revista Hispánica Moderna 31 (1965): 97. The same author studies the vejamen 's links with the popular oral tradition in "La oralidad del vejamen de Academia," Edad de Oro 7 (1988): 49-57.
55. In a poetic competition held in Seville in honor of the feast of the Immaculate Conception, not only are the contributing poets mocked but also the fiesta and even the Holy Mother herself. In the "Vejamen a la Pura Concepción de Maria" we read such astonishing lines as "aunque nacéis de judíos / sois hija de buenas obras [even continue
though born of Jews / you are the daughter of good works]" and "que en un portal escondido / amanecísteis parida / y no de vuestro marido [in a hidden doorway/you awoke after giving birth/and the child was not your husband's]," El primer certamen poético que se celebró en España en honor de la Purísima Concepción de María, Madre de Dios, Patrona de España y de la Infantería Española (Sevilla, 26 de Abril de 1615) (Madrid: Fortanet, 1904): 293-303. It is little wonder that most of these poems were anonymous. It is also interesting to note that of the eight burlesque sonnets included in the vejamen, three are tailed.
56. José Sánchez, Academias literarias del Siglo de Oro español (Madrid: Gredos, 1961): 15-16.
57. José Manuel Blecua, "La academia poética del Conde de Fuensalida," Sobre poesía de la Edad de Oro (Madrid: Gredos, 1970): 203-208; originally published in Nueva Revista de Filología Hispánica 15 (1961): 460-462. This Orden provides an interesting example of how the academies functioned, the layout of the salons where they were held, and the method of admitting new members. See also Willard F. King's article, "The Academies and Seventeenth-Century Spanish Literature," Publications of the Modern Language Association ( PMLA ) 75 (1960): 367-376 and her fundamental work on Spanish academies, Prosa novelística y academias literarias en el Siglo XVII (Madrid: RAE, 1963), which mentions the Conde de Fuensalida's academy on pp. 37-38. More recent and extremely informative are Aurora Egido's "Las academias literarias de Zaragoza en el siglo XVII," La literatura en Aragón, ed. A. Egido (Zaragoza: Caja de Ahorros, 1984): 102-128 and "Literatura efímera: oralidad y escritura en los certámenes y academias de los siglos de oro," Edad de Oro 7 (1988): 69-87.
58. Quoted in King, Prosa novelística, 47. Regarding such feuds and rivalries, see M. Romera-Navarro, "Querellas y rivalidades en las academias del siglo XVII," Hispanic Review 9 (1941): 494-499.
59. Quoted in King, Prosa novelística, 46. It should be noted that this was the same academy at which Lope borrowed Cervantes's glasses to read his verses. His cruel comment to Sessa has gone down in the annals of Cervantine history: "unos antojos . . . que parecían guevos estrellados mal echos [a pair of spectacles . . . that looked like badly fried eggs]" (King, Prosa novelística, 46).
60. Ibid.
59. Quoted in King, Prosa novelística, 46. It should be noted that this was the same academy at which Lope borrowed Cervantes's glasses to read his verses. His cruel comment to Sessa has gone down in the annals of Cervantine history: "unos antojos . . . que parecían guevos estrellados mal echos [a pair of spectacles . . . that looked like badly fried eggs]" (King, Prosa novelística, 46).
60. Ibid.
61. This is not to say that he never frequented such academies nor indulged in personal satire, in spite of his assertion to the contrary in the Viaje del Parnaso . Cervantes's participation in the Sevillian Academia de Ochoa is explored in the following pages.
62. Favoritism was not limited to poetic competitions. It often de- soft
termined who would and who would not be admitted into certain academies. Quevedo satirizes the often capricious procedures for admission into these institutions in his Memorial pidiendo plaza en una academia (1601-1605), written in and about the Valladolid court. Reprinted in Francisco de Quevedo, Obras festivas, ed. Pablo Jauralde Pou (Madrid: Castalia, 1981).
63. Berganza also makes an ironic allusion to the ignorance of academy members. He recounts how a certain Mauleón, "poeta tonto y académico de burla de la Academia de los Imitadores" (a stupid poet and mock academician of the Academy of Imitators) (Madrid's "Imitatoria" that Cervantes knew firsthand), translates Deum de Deo as "dé donde diere" (do as you like). See Miguel de Cervantes, "El coloquio de los perros," in Novelas ejemplares 2: 308.
64. For example, in the Justa poética de San Isidro held in Madrid in 1620 Lope contributed poems under his own name as well as numerous burlesque compositions under the pseudonym "el maestro Burguillos." It should also be remembered that his Arte nuevo was composed to be read before a literary academy.
65. Lope also visited the painter Francisco Pacheco's ateneo-academia when in Seville. There is some difference of opinion among critics as to whether Cervantes was admitted into these illustrious gatherings. In his Nuevos documentos inéditos para ilustrar la vida de Miguel de Cervantes Saavedra (Seville: Geofrín, 1864): 92, José María Asensio y Toledo imagines Cervantes entrancing the members with tales of his Algerian captivity. Francisco Rodríguez Marín, on the contrary, feels that Pacheco's academy was too aristocratic to admit the likes of our novelist. See his edition of Cervantes's Rinconete y Cortadillo (Seville: Francisco de P. Díaz, 1905): 124-140. The extant fragment of the Libro de retratos, Pacheco's memorial to the many ingenios who frequented his studio, does not contain a portrait of Cervantes. Unless the missing section of the book is unearthed and includes his likeness, it is most logical to assume that Cervantes was not a member of this academy. Nevertheless, Pacheco was interested in Cervantes; he included our author's sonnet to Herrera in his 1631 cancionero . I study the poem and Pacheco's relationship with Cervantes in Adrienne Laskier Martín, "El soneto a la muerte de Fernando de Herrera: Texto y contexto," Anales Cervantinos 23 (1985): 213-219.
66. Miguel de Cervantes, Novelas ejemplares 1: 91.
67. Miguel de Cervantes, Los trabajos de Persiles y Sigismunda, ed. Juan Bautista Avalle-Arce (Madrid: Castalia, 1970): 401.
68. These ideas are reflected in great depth in the Viaje del Parnaso . This academic document is directed toward the literary intellectuals continue
who shared Cervantes's elitist academic ideals. In his magnificent satire, our author addresses once again the problem of the subversion of serious poetry by the chusma .
69. In their nineteenth-century editions of Don Quixote, both Clemencín and Hartzenbusch believed that Argamasilla de Alba was the town to which Cervantes referred with the famous opening words "un lugar de la Mancha, de cuyo nombre no quiero acordarme [a village of La Mancha, which I prefer to leave unnamed]." The legend that Cervantes was imprisoned in Argamasilla de Alba's cave of Medrano and engendered the novel there has been disproved. Nevertheless, the myth put this otherwise totally insignificant village on the map. José María Asensio y Toledo also stated that Cervantes resided in Argamasilla and that the academy actually existed, meeting in the back of the pharmacy. The respective members were the town's pharmacist (Monicongo), doctor (Paniaguado), notary (Burlador), priest (Cachidiablo), tailor (Caprichoso), and sacristan (Tiquitoc). The little article is amusing, but obviously is pure whimsy. See Asensio y Toledo, Nuevos documentos para ilustrar la vida de Miguel de Cervantes Saavedra, 63-64.
70. The semantics of the vejamen ( la burla, la pulla, motejar, dar matraca, etc.) are studied in great detail in Monique Joly, La Bourle et son interprétation. Recherches sur le passage de la facétie au roman (Espagne, XVIe-XVIIe siècles) (Toulouse: France-Ibérie Recherche, 1982).
71. Márquez Villanueva, "El mundo literario de los académicos de la Argamasilla," 24-25.
72. Lope de Vega Carpio, Obras poéticas I, 237-238.
73. I study the sonetada as a modality of "fool literature" in Adrienne Laskier Martín, "La sonetada o los problemas de una escondida poesía bufonesca," La edición de textos. Actas del I Congreso Internacional de Hispanistas del Siglo de Oro . Ed. Pablo Jauralde, Dolores Noguera, and Alfonso Rey (London: Tamesis, 1990).
74. Juan de Ochoa heads Mercury's list of poets in the Viaje del Parnaso where Cervantes calls him "amigo, por poeta y cristiano verdadero" (friend, as poet and true Christian).
75. On the Academia de Ochoa, see Francisco Rodríguez Marín, El Loaysa de "El celoso extremeño" and his edition of Cervantes's Rinconete y Cortadillo, 155-160.
76. Miguel de Cervantes, Rinconete y Cortadillo, 160.
77. Alonso Hernández, Léxico del marginalismo del Siglo de Oro, 407.
78. Alonso Fernández de Avellaneda, El ingenioso hidalgo Don Quijote de la Mancha, que contiene su tercera salida y es la quinta parte de sus aventuras, ed. Fernando García Salinero (Madrid: Castalia, 1972): 52. break
79. Cervantes, El ingenioso hidalgo Don Quijote de la Mancha I y II, ed. F. Rodríguez Marín, 6: 143.
80. Angel Rosenblat, La lengua del Quijote (Madrid: Gredos, 1971): 120.
81. García Soriano, Los dos "Don Quijotes, " 206. Although some of Soriano's hypotheses are highly conjectural, his book is an invaluable source for unearthing the often obscure allusions contained in the Quijote poems.
82. The meaning of these "indiscretos hieroglíficos" is studied by Juan Bautista Avalle-Arce in his "Dos notas a Lope de Vega," Nueva Revista de Filología Hispánica 7 (1953): 426-432 and in the introduction to his edition of Lope de Vega Carpio's El peregrino en su patria (Madrid: Castalia, 1973): 17. Marcel Bataillon argues that the verses are directed not against Lope but against La pícara Justina in his "Urganda entre Don Quijote y La pícara Justina, " 268-299. Avalle-Arce refutes Bataillon's reasoning in his edition of the Peregrino .
83. Text in Luis de Góngora, Sonetos completos, ed. Biruté Ciplijauskaité (Madrid: Castalia, 1969): 261.
84. Published in the Peregrino . Text in Lope de Vega Carpio, Poesías líricas, ed. José F. Montesinos, 2 vols. (Madrid: Clásicos Castellanos, 1973) 2: 56-63.
85. García Soriano, Los dos "Don Quijotes," 253.
86. Ibid., 252. This author feels that Lucinda was the model for Dulcinea, points out that their names are anagrams, and emphasizes Dulcinea as a burlesque transformation of Lope's romanticized princess into a coarse Aldonza Lorenzo.
85. García Soriano, Los dos "Don Quijotes," 253.
86. Ibid., 252. This author feels that Lucinda was the model for Dulcinea, points out that their names are anagrams, and emphasizes Dulcinea as a burlesque transformation of Lope's romanticized princess into a coarse Aldonza Lorenzo.
87. Text in Góngora, Romances, 193-199.
88. The former sonnet cannot be attributed to Lope in all certainty. Nevertheless, it is obviously written either by him or by a friend (perhaps Castillo Solórzano) at his behest. A slightly different version of this sonnet appears in Rodríguez Marín, El Loaysa de "El celoso extremeño," 168. The only difference is in the first verse, which reads "Yo que no sé de la-, de li-, ni le- [I know nothing of la -, of li -, nor of le -]." José María Asensio y Toledo briefly discusses this poem and Cervantes's sonnet to which it replies (Appendix 63) in "Desavenencias entre Miguel de Cervantes y Lope de Vega," Cervantes y sus obras (Barcelona: F. Seix, 1902): 278-283.
89. I have found only one other instance of Góngora using a tailed sonnet: "Embutiste, Lopillo, a Sabaot." Text in Góngora, Sonetos completos, 263. The editor of this edition divides both sonnets into four quatrains and therefore seems not to realize they are tailed sonnets.
90. As noted in my discussion of the burlesque sonnets contained continue
in La entretenida, Cervantes even wrote one with double cabo roto (Appendix 39).
91. Rodríguez Marín, El Loaysa de "El celoso extremeño," 131 ff.
92. José Luis Alonso Hernández, "Símbolo, léxico y psicocrítica en la literatura clásica española," Actas del Sexto Congreso Internacional de Hispanistas (held in Toronto on August 22-26, 1979), eds. Alan M. Gordon and Evelyn Rugg (Toronto: University of Toronto, 1980): 44.