1. Julio Herrera y Reissig, "El círculo de la muerte," Páginas escogidas (Barcelona: Casa Editorial Maucci, 1919), 245, n. 1.

2. Yuri Lotman, Analysis of the Poetic Text, ed. and trans. D. Barton Johnson (Ann Arbor, Mich.: Ardis Press, 1976), 26.

3. Federico García Lorca, "Presentación de Pablo Neruda en la Facultad de Filosofía y Letras de Madrid," Obras completas, 2 vols., ed. Arturo del Hoyo (Madrid: Aguilar, 1974), 1:1184.

4. Arturo Torres Rioseco, Precursores del modernismo: Casal, Gui-tiérrez Nájera, Martí, Silva (Madrid: Calpe, 1925), 10.

5. Torres Rioseco, Precursores, 10.

6. Quoted in C. Sabat Ercasty and Manuel de Castro, "Opiniones sobre Julio Herrera y Reissig," Antología lírica de Herrera y Reissig (Santiago: Ercilla, 1939), 41.

7. In Sabat Ercasty and de Castro, "Opiniones," 42.

8. In Sabat Ercasty and de Castro, "Opiniones," 41.

9. In Sabat Ercasty and de Castro, "Opiniones,"

10. Oscar Hahn, "Herrera y Reissig o el discreto encanto de lo 'cursi,' " Texto Crítico 5 (1979): 261-266.

11. Severo Sarduy, Escrito, 51.

12. For a discussion of the influence of Samain, Lugones, and the plagiarism polemic concerning the origin of these poems, see: Roberto Leviller, "Herrera y Reissig y Lugones," Hommage a Ernest Martinenche (Paris: Editions D'Artry, 1939), 262-270; Víctor Pérez Petit, "El pleito lugones—Herrera y Reissig," Nosotros 2 (1938): 227-244; and Guillermo de Torre, La aventura y el orden (Buenos Aires: Losada, 1948), 89-97.

13. Julio Herrera y Reissig, Poesías completas y páginas en prosa, ed. Roberto Bula Píriz (Madrid: Aguilar, 1961), 156, hereafter cited in text as PC with page number.

14. Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Hill & Wang, 1975), 55.

15. Julio Herrera y Reissig, "Conceptos de crítica," Prosas: Crítica, cuentos, comentarios (Montevideo: Máximo García, 1918), 40.

16. Herrera y Reissig, Prosas, 46. break

17. Herrera y Reissig, Prosas, 28.

18. Herrera y Reissig, Prosas, 30.

19. Herrera y Reissig, Prosas, 32-33.

20. Herrera y Reissig, Prosas, 33-34.

21. Herrera y Reissig, Prosas, 34.

22. Herrera y Reissig, Prosas, 35

23. Emir Rodríquez Monegal, "La Generación del 900," Número 2 (1950): 43.

24. José Enrique Rodó, cited in Rodríguez Monegal, 49-50.

25. Herrera y Reissig, Prosas, 34.

26. Rodríguez Monegal, 53.

27. Julio Herrera y Reissig, Obras completas (Madrid: Aguilar, 1961), 827.

28. Angel Rama, "La estética de Julio Herrera y Reissig: el travestido de la muerte," Revista de la Facultad de Humanidades de Puerto Rico (Río Piedras), Sobretiro, 26, quoted in Rogelio Mirza, Herrera y Reissig: Antología, estudio crítico, y notas (Montevideo: Arca, 1975), 30.

29. Rama, cited in Mirza, Herrera y Reissig, 31.

30. Yuri Lotman, The Structure of the Artistic Text, trans. Ronald Vroon, Michigan Slavic Contributions 7 (Ann Arbor, Mich.: University of Michigan Press, 1977), 190. (See also n. 47 on Roman Jakobson in chap. 1).

31. Lotman, Structure, 193.

32. Lotman, Structure, 194.

33. Lotman, Structure, 194.

34. Allen W. Phillips, "La metáfora en la obra de Julio Herrera y Reissig," Revista Iberoamericana 16 (1950): 31-48.

35. Phillips, "La metáfora," 40.

36. Mario Praz, The Romantic Agony, 2d ed. (London: Oxford University Press, 1978), 303, quoted in Lily Litvak, Erotismo fin de siglo (Barcelona: Antoni Bosch, 1979), 98.

37. See n. 65, chap. 1, on the subject (Julia Kristeva)

38. W.J.T. Mitchell reminds us of the kind of spatial mapping that readers use to guide themselves through a fictional or poetic text in which history or narrative continuity are replaced by features of simultaneity and discontinuity: "The traditional comparisons of space and time to body and soul seem worth keeping in mind, for it expresses in a concise way the main elements of our experience of both modalities. Space is the body of time, the form or image that gives us an intuition of something that is not directly perceivable but which permeates all that we apprehend. Time is the soul of space, the invisible entity which animates the field of our experience" (227-278). W.J.T. Mitch- soft

ell, "Spatial Form in Literature: Toward a General Theory," The Language of Images, ed. W. J. T. Mitchell (Chicago: University of Chicago Press, 1980), 271-299.

39. Georges Bataille, L'Erotisme (Paris: Editions de Minuit, 1957), 24.

40. Bataille, L'Erotisme, 25.

41. For a discussion of eroticism within the surrealist movement, see Xavière Gauthier, Surréalisme et sexualité (Paris: Gallimard, 1971).

42. Darío, Poesías completas, 673.

43. Paz, Cuadrivio, 11-65.

44. Deleuze, Logique du Sens, 328.

45. Raúl Blengio Brito, Herrera y Reissig: del romanticismo a la vanguardia (Montevideo: Universidad de la República, División Publicaciones y Ediciones, 1978), 150.

46. Blengio Brito, Herrera y Reissig, 151.

47. For a review of the legends about Herrera y Reissig and biographical studies on him, see "El País de los jueves extraordinario en homenaje a Julio Herrera y Reissig," ed. Arturo Sergio Visca, Special Supplement to El País (Montevideo) June 5, 12, 18, 1975.

48. "Julio Herrera y Reissig: seis años de poesía," Número (Montevideo) 2 (1950): 118-161; and "La Torre de las esfinges como tarea," Número 2 ( 1950): 601-609.

49. See Mirza, Herrera y Reissig, 22-23. Among other studies named in the bibliography, see two short essays: Ana Victoria Mondada, "Introducción," Poesía de Julio Herrera y Reissig (México: Porrúa, 1977), ix-xxv; and Angel Luis Morales, "Julio Herrera y Reissig," lntroduccíon a la literatura hispanoamericana (Río Piedras, P.R.: Editorial Edil, 1974), 312-320.

50. Clara Silva, "Realidad idealizada," El país de los jueves extraordinario, 19.

51. Roland Barthes, Sade, Fourier, Loyola, trans. Richard Miller (New York: Hill and Wang, 1976), 127-128.

52. Ramón López Velarde, Poesías completas y el minutero (México: Editorial Porrúa, 1971), 264.

53. López Velarde, Poesías, 265.