EG-1. Cervantes was imprisoned in Seville in 1597 and in 1602. ↵

EG-2. La Galatea appeared in 1585 and the first part of Don Quixote in 1605; Cervantes published nothing in the intervening twenty years. He was fifty-eight years old in 1605. ↵

EG-3. A legendary medieval Christian king and priest supposed to have ruled in a variety of places, including Ethiopia and the Far East. ↵

EG-4. One of the four divisions of the Greek empire in the Middle Ages, it was frequently cited in novels of chivalry. ↵

EG-5. An ancient Spanish coin introduced by the Moors; its precise value is difficult to determine, since it changed over time. ↵

EG-6. The line (“Liberty cannot be bought for gold”) comes from a collection of Aesop’s fables. ↵

EG-7. The line (“Pale death comes both to the hovel of the poor wretch and the palace of the mighty king”) is from Horace. ↵

EG-8. Matthew 1:4 (“But I say unto you, Love your enemies”). ↵

EG-9. Matthew 15:19 (“For out of the heart proceed evil thoughts”). ↵

EG-10. These lines are from Ovid, not Cato, and they translate roughly as “Nobody knows you when you’re down and out.” ↵

EG-11. Fray Antonio de Guevara, a sixteenth-century writer, was, among other things, the bishop of Mondonedo. The irony lies in the fact that his books were well-known for their inaccuracies. ↵

EG-12. Author of Dialoghi d’amore (Dialogues of Love), his theories of love influenced Cervantes in the writing of his pastoral novel, La Galatea. ↵

EG-13. The reference is to Tratado del amor de Dios (Treatise on the Love of God), published by Cristobal de Fonseca in 1592. ↵

EG-14. In contemporary terms, Cervantes is referring here to the science of astronomy. A town in La Mancha, in the province of Ciudad Real. ↵

EG-15. Urganda was a sorceress in Amadis of Gaul who could change her appearance at will. ↵

EG-16. These lines are a homage to the Duke of Bejar, Cervantes’s patron. In this form of humorous poetic composition, called versos de cabo rato (“lines with unfinished endings”), the syllables following the last stressed syllable in the final word of each line are dropped. ↵

EG-17. A reference to Ariosto’s Orlando furioso (Roland Gone Mad). ↵

EG-18. Don Alvaro de la Luna (1388?-1353), lord high constable (Condestable) of Castilla under Juan II, was considered the most powerful man of his time. ↵

EG-19. An allusion to a black servant of the duchess of Terranova, who knew so much Latin that he was given this nickname. (See this article in Spanish) ↵

EG-20. Amadis of Gaul was the hero of the most famous of the Renaissance novels of chivalry. He was the prototype of the perfect knight and perfect chivalric lover. ↵

EG-21. Pena Pobre (“Mount Mournful”) is where Amadis carried out his penance of love, later imitated by Don Quixote. ↵

EG-22. Another fictional knight from the literature of chivalry. ↵

EG-23. Oriana was the lady-love of Amadis. ↵

EG-24. An allusion to the idiom “to imitate Villadiego,” meaning to run away. ↵

EG-25. First published in 1499, the book commonly known as La Celestina is one of the great monuments of Renaissance literature in Spain. ↵

EG-26. Babieca was the name of the horse belonging to El Cid. ↵

EG-27. In Lazarillo de Tormes, the first picatesque novel (1554), Lazarillo manages to steal wine from his blind master, who refuses to allow him to drink, by surreptitiously inserting a straw into the jug of wine. ↵

EG-28. Another fictional hero of chivalric literature. ↵

EG-29. The name may be an invention of Cervantes’s or a misprint for Soliman, the emperor of Trebizond. ↵

EG-30. Cervantes describes typical aspects of the ordinary life of the rural gentry. The indications of reduced circumstances include the foods eaten by Don Quixote: beef, for example, was less expensive than lamb. ↵

EG-31. The author of several novels of chivalry; the phrases cited by Cervantes are typical of the language in these books that drove Don Quixote mad. ↵

EG-32. The allusion is ironic: Siguenza was a minor university, and its graduates had the reputation of being not very well educated. ↵

EG-33. A historical figure (eleventh century) who has passed into legend and literature. ↵

EG-34. A legendary hero, the subject of ballads as well as poems and plays. ↵

EG-35. The site in the Pyrenees, called Roncesvaux in French, where Charlemagne’s army fought the Saracens in 778. ↵

EG-36. A hero of the French chansons de geste; in some Spanish versions, he takes part in the battle of Roncesvalles. ↵

EG-37. The traitor responsible for the defeat of Charlemagne’s army at Roncesvalles. ↵

EG-38. Pietro Gonnella, the jester at the court of Ferrara, had a horse famous for being skinny. The Latin translates as “was nothing but skin and bones.” ↵

EG-39. Rocin means “nag”; ante means “before,” both temporally and spatially. ↵

EG-40. Quixote means the section of armor that covers the thigh. ↵

EG-41. La Mancha was not one of the noble medieval kingdoms associated with knighthood. ↵

EG-42. Aldonza, considered to be a common, rustic name, had comic connotations. ↵

EG-43. Her name is based on the word duke (“sweet”). ↵

EG-44. The wordplay is based on the word bianco, which can mean both “blank” and “white.” ↵

EG-45. These lines are from a well-known ballad; the first part of the innkeeper’s response quotes the next two lines. ↵

EG-46. In Cervantes’s time, this was known as a gathering place for criminals. ↵

EG-47. Don Quixote paraphrases a ballad about Lancelot. ↵

EG-48. Real was the name given to a series of silver coins, no longer in use, which were roughly equivalent to thirty-four maravedis, or one-quarter of a peseta. ↵

EG-49. These were all famous underworld haunts. ↵

EG-50. An ancient copper coin whose value varied over the years; it eventually was worth half a maravedi. ↵

EG-51. The unwarranted use of the honorifics don and dona was often satirized in the literature of the Renaissance. ↵

EG-52. It was considered insulting to call someone a liar in front of others without first begging their pardon. ↵

EG-53. Martin de Riquer, the editor of the Spanish text, speculates that the error in arithmetic may be an intentional, ironic allusion to Cervantes’s three imprisonments for faulty accounts. ↵

EG-54. These characters appear in the well-known ballad that Don Quixote recites. ↵

EG-55. The story is included in book IV of Jorge de Montemayor’s Diana (1559?), the first of the Spanish pastoral novels; it is one of the volumes in Don Quixote’s library. ↵

EG-56. Knights chosen by the king of France and called peers because they were equal in skill and courage. They appear in The Song of Roland. ↵

EG-57. The nine were Joshua, David, Judah Macabee, Hector, Alexander, Julius Caesar, King Arthur, Charlemagne, and Godfrey of Bouillon (commander of the First Crusade). ↵

EG-58. Published in their complete version in 1508, these are the first in the long series of novels of chivalry devoted to the exploits of Amadis, a prototypical knight, and his descendants. ↵

EG-59. The Catalan novel Tirant lo Blanc was published in 1490; Cervantes probably knew only the translation into Castilian, which was not published until 1511. ↵

EG-60. This is the fifth book of the Amadis series and was published in 1521. ↵

EG-61. Published by Feliciano de Silva in 1535, it is the ninth book of the Amadis series. ↵

EG-62. Published by Antonio de Torquemada in 1564. In 1600, his Jardin de flores (Garden of Flowers) was translated into English as The Spanish Mandeville. ↵

EG-63. Published by Lenchor Ortega de Ubeda in 1556. ↵

EG-64. Published anonymously in 1533, this is the fourth book of the series about Palmerin, another fictional knight. ↵

EG-65. Published anonymously, it has two parts, which appeared in 1521 and 1526, respectively. ↵

EG-66. An unfaithful prose translation of Boiardo’s Orlando innamorato (Roland in Love), it was published in three parts in 1533, 1536, and 1550, respectively. The first two are attributed to López de Santa Catalina and the third to Pedro de Reynosa. ↵

EG-67. The archbishop of Reims, whose Fables (1527) are a fictional Carolingian chronicle. He is constantly cited for his veracity in The Mirror of Chivalry. ↵

EG-68. Matteo Boiardo was the author of Orlando innamorato; Ludovico Ariosto, who wrote Orlando furioso, referred only to the Christian God in his work. Cervantes disliked the Spanish translations of Ariosto, including the one by Captain Jerónimo de Urrea (1549), which he refers to in the next paragraph. ↵

EG-69. The references are to two poems, the first by Agustín Alonso (1585) and the second by Francisco Garrido Vicena (1555). ↵

EG-70. The first of the Palmerín novels, published in 1511, is of uncertain authorship. The Palmerín of England was the third novel in the series; it was written in Portuguese by Francisco Moraes Cabral and translated into Castilian by Luis Hurtado (1547). ↵

EG-71. Written by Jerónimo Fernández and published in 1547. ↵

EG-72. As indicated earlier, this was first published in 1490; composed in Catalan by Johanot Martorell and continued by Martí Johan de Galba, the anonymous Castilian translation was published in 1511. ↵

EG-73. In the translation of this sentence, which has been called the most obscure in the entire novel, I have followed the interpretation offered by Martín de Riquer. One of the problematic issues in Spanish is the word galeras, or “galleys,” which can mean either ships or publisher’s proofs. ↵

EG-74. As indicated earlier, this was the first pastoral novel in Spanish. ↵

EG-75. A very poor continuation by Alonso Pérez, a Salamancan physician, printed in 1564; also published in 1564 is the highly esteemed Diana enamorada (Diana in Love) by Gil Polo. ↵

EG-76. Published in 1573; according to Martín de Riquer, Cervantes’s praise is ironic, since he mocked the book in his Viaje del Parnaso (Voyage from Parnassus). ↵

EG-77. The first, by Bernardo de la Vega, was published in 1591; the second, by Bernardo González de Bobadilla, was published in 1587; the third, by Bartolomé López de Encino, was published in 1586. ↵

EG-78. Published in 1582 by Luis Gálvez de Montalvo. ↵

EG-79. Published in 1580 by Pedro de Padilla. ↵

EG-80. Published in 1586 by Gabriel López Maldonado and his collaborator, Miguel de Cervantes. ↵

EG-81. This pastoral novel was the first work published by Cervantes, in 1585; the often promised second part was never published and has been lost. ↵

EG-82. Epic poems of the Spanish Renaissance, they were published in 1569, 1584, and 1588, respectively. ↵

EG-83. Published in 1586 by Luis Barahona de Soto. ↵

EG-84. The first two are epic poems by Jerónimo Sempere (1560) and Pedro de la Vecilla Castellanos (1586); the third work is not known, although Luis de Ávila did write a prose commentary on Spain’s wars with the German Protestants. Martín de Riquer believes that Cervantes intended to cite the poem Carlo famoso (1566) by Luis Zapata. ↵

EG-85. The enchanter Frestón is the alleged author of Don Belianís of Greece, a chivalric novel. ↵

EG-86. A Latinate word for “island” that appeared frequently in novels of chivalry; Cervantes uses it throughout for comic effect. ↵

EG-87. Panza means “belly” or “paunch.” ↵

EG-88. Presumably through an oversight on the part of Cervantes, Sancho’s wife has several other names, including Mari Gutiérrez, Juana Panza, Teresa Cascajo, and Teresa Panza. ↵

EG-89. A monstrous giant in Greek mythology who had fifty heads and a hundred arms. ↵

EG-90. An entrance to the mountains of the Sierra Morena, between La Mancha and Andalucía. ↵

EG-91. A historical figure of the thirteenth century. ↵

EG-92. Agrajes, a character in Amadís of Gaul, would say these words before doing battle; it became a proverbial expression used at the beginning of a fight. ↵

EG-93. The “second author” is Cervantes (that is, the narrator), who claims, in the following chapter, to have arranged for the translation of another (fictional) author’s book. This device was common in novels of chivalry. ↵

EG-94. Cervantes originally divided the 1605 novel (commonly called the “first part” of Don Quixote) into four parts. The break in the narrative action between parts was typical of novels of chivalry. ↵

EG-95. These lines, probably taken from a ballad, appeared in Alvar Gómez’s Spanish translation of Petrarch’s Trionfi, although nothing comparable is in the Italian original. ↵

EG-96. A commonplace in chivalric fiction was that the knight’s adventures (Platir’s, for example) had been recorded by a wise man and then translated, the translation being the novel. ↵

EG-97. Published in 1586 and 1587, respectively. ↵

EG-98. A Moor who had been converted to Christianity. ↵

EG-99. An allusion to Hebrew, spoken by the Jews who were merchants in the Alcaná. ↵

EG-100. Cide is the equivalent of señor; Hamete is the Arabic name Hamid; Benengeli (berenjenain Spanish) means “eggplant,” a favorite food of Spanish Moors and Jews. In chapter II of the second volume (1615), the “first author” is, in fact, referred to as Cide Hamete Berenjena. ↵

EG-101. Two arrobas is approximately fifty pounds; two fanegasis a little more than three bushels. ↵

EG-102. Zancas means “shanks”; panza, as indicated earlier, means “belly” or “paunch.” ↵

EG-103. Cervantes apparently divided this portion of the text into chapters after he had written it, and he did so in haste: the adventure with the Basque is concluded, and the Galicians do not appear for another five chapters. ↵

EG-104. The Santa Hermandad, or Holy Brotherhood, was an armed force that policed the countryside and the roads. ↵

EG-105. Sancho confuses homicidios (“homicides”) and omecillos (“grudges”). ↵

EG-106. Lint was used in much the same way that absorbent cotton is used in modern medicine. ↵

EG-107. Mentioned in a twelfth-century chanson de geste that was translated into Spanish prose in 1525 and became very popular, the balm could heal the wounds of anyone who drank it. ↵

EG-108. An azumbre was the equivalent of a little more than two liters. ↵

EG-109. Loosely based on an episode in Ariosto’s Orlando furioso, in which Reinaldos de Montalbán takes the enchanted helmet of the Moorish king Mambrino from Dardinel (not Sacripante) and kills him in the process. ↵

EG-110. A reference to an episode in Boiardo’s Orlando innamorato, in which Agricane’s army, consisting of “twenty-two hundred thousand knights,” laid siege to Albracca. ↵

EG-111. This name appears in a novel of chivalry, Clamades y Clarmonda (1562); in later editions of Don Quixote it was changed to “Sobradisa,” a kingdom mentioned in Amadís of Gaul. ↵

EG-112. Don Quixote’s soliloquy incorporates all the elements traditionally associated with the classical idea of the Golden Age. ↵

EG-113. A precursor of the violin, mentioned frequently in pastoral novels. ↵

EG-114. The lines are from Orlando furioso. “Roland” is the English (and French) for “Orlando.” The Spanish version of the name is “Roldán.” ↵

EG-115. Virgil requested that the Aeneid be burned at his death. ↵

EG-116. According to a medieval legend, the wounds of a murder victim would bleed in the presence of the killer. ↵

EG-117. The reference is to Tulia, the wife, not the daughter, of the Roman king Tarquinus the Proud. ↵

EG-118. There is a Yanguas in the modern province of Soria and another in the province of Segovia; in the first edition, however, Cervantes calls the drovers “Galicians.” For the sake of clarity, I have called them “Yanguesans,” which is how they are referred to in part II. ↵

EG-119. Sancho misremembers the name (Fierabrás) associated with the healing potion. ↵

EG-120. The humor here stems from wordplay based on costas (“costs”) and costillas (“ribs”). ↵

EG-121. The “merry god” is Bacchus. ↵

EG-122. Cervantes erroneously describes the city entered by Silenus as having one hundred gates, which refers to Egyptian Thebes; Silenus rode into Thebes in Boeotia, which had seven gates. ↵

EG-123. A span is approximately eight inches. ↵

EG-124. Sancho is mistaken (or lying): he and Don Quixote have been traveling for three days. ↵

EG-125. According to Martín de Riquer, muledrivers were usually Moriscos, and Cervantes is suggesting a connection between this character and Cide Hamete Benengeli. ↵

EG-126. A book of chivalry based on an earlier French poem and published in Spanish in 1513. ↵

EG-127. A figure who appeared in ballads and in a novel of chivalry published in 1498. ↵

EG-128. The phrase recalls the opening of a traditional ballad about El Cid. ↵

EG-129. A coin of little value, worth about one-sixth of a maravedí. ↵

EG-130. Tossing a dog in a blanket was a Carnival diversion. ↵

EG-131. In heraldry, these are blue and white cups, or bells, that fit together perfectly. ↵

EG-132. The reference is to Amadís of Greece, the great-grandson of Amadís of Gaul.↵

EG-133. The Greek and Roman name for Sri Lanka. The names of the warriors in this section are parodies of the kinds of grandiloquent names typical of novels of chivalry (Alifanfarón is roughly equivalent to “Alibombast,” Pentapolínto “Pentaroller”). The listing of combatants appears to be a brief detour by Cervantes into the world of the epic poem.↵

EG-134. The names in this section suggest ludicrous associations: Laurcalco, “Laurelfacsimile”; Micocolembo, “Monkeywedge”; Brandabarbarán de Boliche, “Brandabarbarian of Ninepins”; Timonel de Carcajona, “Helmsman of Guffawjona”; Nueva Vizcaya, “New Basqueland”; Miulina, “Mewlina”; Alfeñiquén del Algarbe, “Mollycoddle of Babble”; Pierres Papín, “Pierres Bonbon”; Espartafilardo del Bosque, “Esparragrass of the Forest.”↵

EG-135. This is part of a phrase established by the Council of Trent for excommunicating those who committed violence against a member of the clergy.↵

EG-136. The legend, Rastrea mi Suerte, is ambiguous and can be interpreted in several ways, including “Look into my fate,” “Delve into my fate,” “My fate creeps along,” and “Follow [the trail of] my fate.”↵

EG-137. Don Quixote begins his description with ancient and foreign references; in the second half of his evocation, beginning with “In this other host…” he alludes, for the most part, to Iberian rivers.↵

EG-138. The Spanish word peladilla can mean either “pebble” or “sugared almond.” In the next sentence, Cervantes confirms the wordplay by using almendra, directly equivalent to “almond.”↵

EG-139. Andrés Laguna, an eminent sixteenth-century physician, translated and commented on the medical treatise by Dioscorides, a Greek physician of the first century C.E.↵

EG-140. Sancho does not remember the name “Mambrino” and confuses it with malandrín (“scoundrel” or “rascal”).↵

EG-141. The reference is to soldiers who wore shirts of a specific color over their armor during night battles so they would not be mistaken for the enemy.↵

EG-142. All of these are fictional except for the Knight of the Griffon, a count who lived during the reign of Philip II.↵

EG-143. For the next few sentences, Don Quixote uses a more formal mode of address with Sancho (a change that cannot be rendered in modern English) to indicate extreme displeasure and his desire for distance between them.↵

EG-144. The incident is narrated in several ballads about El Cid (Rodrigo de Vivar, also called Ruy Díaz).↵

EG-145. The Horn is the constellation of Ursa Minor; Sancho refers to a method of telling the time by the stars in which the person would extend his arms in the shape of a cross and calculate the hour by determining the position of the Horn in relationship to his arms.↵

EG-146. Sancho is alluding to Cato the Censor, or Cato Censorino, who was popularly considered to be a source of proverbs and sayings; in the process, he mispronounces his title, calling him zonzorino, which suggests “simpleminded.”↵

EG-147. A term used to describe those who had no Jewish or Muslim ancestors, as opposed to more recent converts (the “New Christians); being an “Old Christian” was considered a significant attribute following the forced conversions of the fifteenth and sixteenth centuries.↵

EG-148. Vulcan made armor for Mars, but not a helmet.↵

EG-149. Latin for “in the Turkish manner.”↵

EG-150. This is the second half of a proverb: “It doesn’t matter if the pitcher hits the stone or the stone hits the pitcher: it will be bad for the pitcher.”↵

EG-151. An enchanted helmet worn by Reinaldos de Montalbán.↵

EG-152. Sancho is citing part of a proverb—“May it please God that this is oregano and not caraway”—which warns against fool’s gold (oregano was considered more valuable than caraway).↵

EG-153. Castor, a strong-smelling secretion of the beaver’s sexual glands, was used in making perfume.↵

EG-154. A kind of metal collar placed under the chin, which prevented a prisoner from lowering his head.↵

EG-155. Sancho means “Mambrino.”↵

EG-156. An idiom, used earlier, that means to flee an unexpected danger.↵

EG-157. A ritual in which cardinals change their hoods on Easter Sunday.↵

EG-158. It should be noted that Don Quixote’s tale is a perfect plot summary of a novel of chivalry.↵

EG-159. Under certain circumstances, it was a privilege of the gentry to collect five hundred sueldos as recompense for damages or injuries.↵

EG-160. The speech of the galley slaves is peppered with underworld slang. Here, for example, the convict says that his sentence was a hundred lashes plus a term of three years in the galleys.↵

EG-161. The allusion is to the public flogging and humiliation of convicted criminals.↵

EG-162. There is a certain intentional confusion or ambiguity regarding “go-between” in the ensuing dialogue, where it alternately implies “matchmaker” and “procurer.”↵

EG-163. Queen Madásima, a character in the Amadís of Gaul, did not have a romantic relationship with the surgeon Elisabat.↵

EG-164. Cervantes is alluding to the picaresque novel in Ginés’s discussion of his book, just as he suggests the pastoral in the story of Marcela. These genres, along with novels of chivalry, were the most popular forms of prose fiction in Spain during the sixteenth century.↵

EG-165. A traditional expression that means, “Don’t go looking for trouble.”↵

EG-166. Martín de Riquer faithfully follows the first edition of Don Quixote, published in 1605; the second edition, printed a few months later by Juan de la Cuesta, the same printer, introduces a brief passage here, indicating that Ginés de Pasamonte, who is also in the mountains, steals Sancho’s donkey. The thorny and ambiguous question of why Cervantes does not mention the theft of the donkey in the first edition (usually attributed to an author’s oversight or a printer’s error) is alluded to in the second part of Don Quixote, published in 1615 (in chapters III and XXVII).↵

EG-167. By the third edition of Don Quixote, printed by Juan de la Cuesta, the references to Sancho’s donkey in the Sierra Morena had been deleted; here, for example, the revised text says that Sancho was on foot and carrying the donkey’s load, “thanks to Ginesillo de Pasamonte.”↵

EG-168. A traditional expression that means “I don’t want things that can cause trouble.”↵

EG-169. A lost play by Shakespeare, The History of Cardenio, was apparently based on Cardenio’s tale. An English translation of the first part of Don Quixote appeared only a few years after its initial publication in 1605.↵

EG-170. A promise of marriage was considered a legally binding contract.↵

EG-171. This is the eleventh of the books about Amadís and his descendants.↵

EG-172. Peña Pobre can be translated as “Poor Rock” or “Bare Rock” or, to retain the alliteration, “Mount Mournful.”↵

EG-173. The knight’s penance is a favorite topic in the books of chivalry. Beltenebros is the name taken by Amadís during his penance; it suggests “Dark Beauty” or “Beautiful Dark.”↵

EG-174. This was the popular name for Aesop among the uneducated.↵

EG-175. This is Sancho’s misunderstanding of the name Elisabat.↵

EG-176. Complutum was the Roman name for Alcalá de Henares, Cervantes’s birthplace.↵

EG-177. The figure of Opportunity was traditionally represented as bald except for one lock of hair, which, like the proverbial brass ring, one had to grasp and hold on to.↵

EG-178. The hippogryph, a winged horse, and Frontino, the horse of Ruggiero, Bradamante’s lover, appear in Ariosto’s Orlando furioso; Frontino is also mentioned by Boiardo in Orlando innamorato.↵

EG-179. Over the years, the question of exactly when Sancho’s donkey was stolen has been a matter of some controversy among Cervantine scholars. According to the first edition, published in 1605, this is the initial indication that a theft has taken place. In the second edition, however, published a few months after the first, a passage inserted in chapter XXIII states that Ginés de Pasamonte, the galley slave, steals the donkey while Sancho is sleeping. Martín de Riquer, editor of the text on which this translation is based, adheres consistently to the first edition, citing the added passage in a footnote but not including it in the body of the text. In brief, then, through an oversight of Cervantes or the printer, Juan de la Cuesta, the first edition does not prepare the reader for the fact that the donkey has been stolen; despite subsequent corrections, in the second part of Don Quixote, published in 1615, Cervantes alludes to this omission in chapter III and apparently accepts criticism of the omission as valid.↵

EG-180. This is Sancho’s corruption of a Latin phrase in the service for the dead: Quia in inferno nulla est redemptio.↵

EG-181. In the passage regarding the theft of the donkey, which was inserted in chapter XXIII in the second edition, Don Quixote offers Sancho his own donkeys as compensation for his loss.↵

EG-182. In an apparent oversight, Cervantes wrote “Perseus” instead of “Theseus.”↵

EG-183. This phrase was considered irreverent, and in the second edition it was replaced by “And for a rosary he took some large galls from a cork tree, which he strung together and used as prayer beads.”↵

EG-184. A Visigoth who ruled Spain in the seventh century (672–680).↵

EG-185. This appears to be a reference to the duke of Osuna.↵

EG-(*). In the first edition, this was the epigraph for chapter XXX, while the one for chapter XXIX appeared before chapter XXX. In other words, the epigraphs were reversed.↵

EG-186. The kind of gentle horse normally ridden by women and referred to frequently in novels of chivalry; Cervantes uses the term for comic effect since Dorotea is riding a mule.↵

EG-187. In other words, Sancho will turn them into silver and gold.↵

EG-188. This is the first reference, in either the first or second edition of the novel, to the theft of Don Quixote’s sword.↵

EG-189. Meona means “urinating frequently” and is often used to describe newborn infants.↵

EG-190. In this context, religion signifies the order of chivalry.↵

EG-191. Azote means “whip” or “scourge”; gigote is “fricassee” or “hash.”↵

EG-192. The humor in Dorotea’s statement (comparable to her not being able to recall Don Quixote’s name) lies in the fact that Osuna is landlocked and that La Mancha is part of Spain, and not the reverse, as she implies.↵

EG-193. Sancho confuses the proverb, which ends: “…you can’t complain about the evil that happens to you.”↵

EG-194. As indicated earlier, when he is extremely angry Don Quixote changes the way he addresses Sancho, moving from the second person singular to the more distant second person plural. This is the second time he has done so, and he maintains his irate distance until the end of the paragraph.↵

EG-195. At this point, in the second edition, Ginés de Pasamonte reappears, riding Sancho’s donkey. Sancho begins to shout at him, calling him a thief, and Ginés runs away, leaving the donkey behind. Sancho is overjoyed, especially when Don Quixote says that this does not nullify the transfer of the three donkeys he had promised him earlier.↵

EG-196. A fanega is approximately 1.6 bushels.↵

EG-197. As a sign of respect, the recipient of a letter from a person of high station touched it to his or her head before opening it.↵

EG-198. A ruse allegedly used by Gypsies to make their animals run faster.↵

EG-199. Written by Bernardo de Vargas, the book was published in 1545.↵

EG-200. This novel was mentioned in the examination of Don Quixote’s library by the priest and the barber.↵

EG-201. Published in 1580, this chronicle recounts the exploits of one of the most famous and successful officers to serve under the Catholic Sovereigns, Ferdinand and Isabella. Gonzalo Hernández de Córdoba (1453–1515) was called the Great Captain; his aide, Diego García de Paredes, was renowned for his enormous strength.↵

EG-202. This is the first of what are called the interpolated novels (in contemporary terms, they are novellas) in the first part of Don Quixote; the story is derived from an episode in Canto 43 of Ariosto’s Orlando furioso. There are indications in the second part of Don Quixote that Cervantes was criticized for these “interruptions” of the action.↵

EG-203. Plutarch attributes the phrase to Pericles.↵

EG-204. An Italian poet of the sixteenth century (1510–1568).↵

EG-205. An allusion to the story, recounted in Orlando furioso, of a magic goblet that indicated if the women who drank from it were faithful.↵

EG-206. Danae was confined in a tower by her father, King Acrisius, when an oracle stated that her son would kill him. Zeus transformed himself into a shower of gold, visited her, and fathered Perseus.↵

EG-207. As Martín de Riquer points out, Leonela says “us” because she was complicit in their affair.↵

EG-208. The four Ss that a lover needed to be were sabio (“wise”), solo (“alone”), solícito (“solicitous”), and secreto (“secretive”). This conceit was popular during the Renaissance, as were the ABCs of love cited by many authors. The W is omitted from Leonela’s ABC because it is not part of the Spanish alphabet.↵

EG-209. The phrase in Spanish, ciertos son los toros, is equivalent to “the bulls are certain”—that is, “there’s no doubt about the outcome.”↵

EG-210. A cuartillo is one-fourth of a real.↵

EG-211. A cuarto, a coin of very little value, was worth four maravedís.↵

EG-212. This appears to refer to the battle of Cerignola, in 1503, when the defeat of the French made the kingdom of Naples a Spanish province.↵

EG-213. In what seems to be another oversight on the part of Cervantes or his printer, the first part of this epigraph actually belongs to the previous chapter.↵

EG-214. These were worn to protect travelers from the sun and dust.↵

EG-215. It was believed that nobility was inherited exclusively from the father.↵

EG-216. Another apparent oversight: it was indicated earlier in the chapter that the two men had already seen each other.↵

EG-217. An extremely variable liquid measure, ranging from 2.6 to 3.6 gallons (it is also a dry measure equivalent to twenty-five pounds).↵

EG-218. Martín de Riquer indicates that Dorotea uses this term mockingly.↵

EG-219. It seems likely that the earlier description of the character as a “Christian recently arrived from Moorish lands” means that he could only be a former prisoner, although the story of his captivity—another interpolated novel—does not begin until chapter XXXIX.↵

EG-220. The duke of Alba reached Brussels on August 22, 1567.↵

EG-221. The debate between arms and letters (that is, the life of a soldier compared to the life of a cleric or scholar), a frequent literary topic in Europe during the Middle Ages and the Renaissance, was at least as popular as the theme of the Golden Age, the subject of Don Quixote’s discourse when he shared a meal with the goatherds.↵

EG-222. A phrase that means going to convents and monasteries for the soup that is distributed to the poor.↵

EG-223. This is the second of the “interpolated novels.” Cervantes himself had been a captive for some five years, and many of the elements in the story may be autobiographical, but it should also be noted, as Martín de Riquer points out, that it was a fairly common practice to insert a romantic tale with Moorish themes into works that otherwise seemed to have little to do with either romance or the Moors.↵

EG-224. An amount worth approximately thirty-three thousand reales.↵

EG-225. A fortified town on the Tenaro River, near Milan.↵

EG-226. A span (palmo) is approximately 8 inches; a vara, about 2.8 feet.↵

EG-227. Belgian noblemen who fought against the French in the Spanish army and were executed by the duke of Alba on June 5, 1568, for rebelling against the Inquisition.↵

EG-228. Cervantes fought under this captain at the battle of Lepanto, in 1571.↵

EG-229. Cervantes, who was not an officer, apparently joined the fleet in Messina on September 2, 1571; it set sail on September 16, and the battle of Lepanto, the definitive defeat of the Turks by the Christian alliance, took place on October 7.↵

EG-230. The naval crown, made of gold, was awarded to the first man to board an enemy ship.↵

EG-231. Uchalí, or Uluch Ali, the viceroy of Algiers in 1570, did in fact take part in the actions described by Cervantes. He commanded the Ottoman fleet from 1571 to 1587 and defeated the flagship of the Order of Malta during the battle of Lepanto.↵

EG-232. Giovanni Andrea Doria, a Genoese, commanded the Spanish galleys.↵

EG-233. An insignia that indicated the flagship of an admiral.↵

EG-234. Muley Hamet, or Muley Mohammad, took possession of Tunis in October of 1573; the following year, he was captured by the Turks. His brother, Muley Hamida, or Ahmad-Sultán, attempted to join the attack on Tunis in 1573 by Don Juan of Austria, and died in Palermo in 1575.↵

EG-235. The fortress that protected Tunis.↵

EG-236. A span (palmo) is approximately 8 inches; a vara, about 2.8 feet.↵

EG-237. Nicknamed El Fratín (“the Little Friar”), Jacome Paleazzo fortified a number of garrisons for the Spanish monarchy.↵

EG-238. The historical Uchalí died suddenly on June 21, 1587, in Constantinople.↵

EG-239. The four Ottoman family names are Muhammat, Mustafa, Murad, and Ali.↵

EG-240. Hasán Bajá, king of Algiers between 1577 and 1578, was born in Venice in 1545; he was captured by the Turks, renounced Christianity, and led the Turkish landings at Cadaqués and Alicante; Cervantes met him during his own captivity.↵

EG-241. The allusion is to Cervantes himself; his complete surname was Cervantes Saavedra.↵

EG-242. A historical figure, Agi Morato, or Hajji Murad, the son of Slavic parents, renounced Christianity and became an important personage in Algiers.↵

EG-243. La Pata is al-Batha, a fortress-city.↵

EG-244. According to Martín de Riquer, the daughter of Agi Morato (see note 6) was in fact named Zahara; in 1574 she married Abd al-Malik, who was proclaimed sultan of Morocco in 1576 and died in the battle of Alcazarquivir, against the Portuguese, in 1578. She was remarried, to Hasán Bajá, and after 1580 lived in Constantinople. In other words, some characters in this story of the captive are historical, although the action is fictional.↵

EG-245. Bab Azún, the Gate of Azún, is one of the gates to Algiers.↵

EG-246. This was the name for perfectly bilingual Moors, usually converts to Christianity, who had lived among Christians; they often came from the ancient kingdom of Aragón, which included present-day Aragón, Cataluña, Valencia, and the Balearic Islands.↵

EG-247. This was the name of the pirate who captured Cervantes.↵

EG-248. A gold coin worth approximately six silver reales.↵

EG-249. A coin worth approximately seventeen reales.↵

EG-250. In this context, the word means a Moor who knew a Romance language.↵

EG-251. This is an allusion to the legend of Don Rodrigo, the last Visigothic ruler of Spain, whose illicit love for Florinda, the daughter of Count Julián, caused her father to seek his revenge by betraying Spain to the Moors at the battle of Guadalete, in 711.↵

EG-252. Martín de Riquer indicates that this lyric (and other poems inserted in the text) was composed by Cervantes years before he wrote Don Quixote and set to music in 1591 by Salvador Luis, a singer in the chapel choir of Philip II.↵

EG-252. These were common coverings for windows before glass was in general use.↵

EG-254. The reference is to Apollo’s pursuit of Daphne, the daughter of the river god Peneus.↵

EG-255. According to Martín de Riquer, Sancho invents the word both as a sarcastic comment on Don Quixote’s misperception and in order not to contradict Don Quixote openly.↵

EG-256. Certificates were issued by the trade guilds to indicate a member’s skill.↵

EG-257. In the sixteenth and seventeenth centuries, it was not unusual for innkeepers to belong to the Holy Brotherhood; the staff was a symbol of authority derived from the king.↵

EG-258. The dispute, which became proverbial, was described by Ariosto in Orlando furioso.↵

EG-259. Traditionally, the disputed items in Agramante’s camp were a sword, a horse, and a shield emblazoned with an eagle; the helmet is an invention of Don Quixote’s.↵

EG-260. In the first edition, this is the first indication that Sancho has recovered his donkey.↵

EG-261. The phrase is based on the one used when the excommunicated return to the Church. The Latin that follows is equivalent to “as it was in the beginning.”↵

EG-262. The allusion is to Apollo pursuing Daphne, as well as to the sun crossing the sky and passing various constellations.↵

EG-263. The name is based on the verb mentir, “to lie.”↵

EG-264. It was a mark of great dishonor for a knight to ride in so humble a vehicle; in medieval tales, for example, Lancelot incurred great shame by riding in an oxcart.↵

EG-265. “Catholic” is used by Sancho metaphorically to mean “trustworthy” or “legitimate,” much as we would use “kosher” today; Don Quixote responds to the literal meaning of the word.↵

EG-266. This is the title of one of the novellas in Cervantes’s collection, Novelas ejemplares (Exemplary Novels), which was published in 1613, eight years after the first part of Don Quixote.↵

EG-267. A treatise on logic, written by Gaspar Cardillo de Villalpando and used as a text at the University of Alcalá.↵

EG-268. A kind of sensual, supposedly decadent writing associated with the ancient Ionian city of Miletus.↵

EG-269. Sinon persuaded the Trojans to admit the wooden horse, filled with Greek soldiers, into their city, thereby causing the defeat of Troy. According to some accounts, he was a Greek who allowed himself to be taken prisoner by the Trojans; according to others, he was a Trojan in the service of the Greeks.↵

EG-270. Euryalus was well-known for his friendship with Nisus. They accompanied Aeneas to Italy following the Trojan War and were killed in battle.↵

EG-271. Zopyrus proved his loyalty to Darius during a revolt by the Babylonians: he mutilated himself severely, then went over to the Babylonian side, claiming to be a victim of Persian cruelty; he gained their confidence, was made leader of their armies, and eventually betrayed Babylon to Darius.↵

EG-272. “The tailor who wasn’t paid” is the first part of a proverb (the second part usually is not cited) that roughly translates as “The tailor wasn’t paid, and had to supply his own braid,” meaning that one can lose twice: by not being paid a fee for a service and by not being reimbursed for the expenses incurred in performing the service.↵

EG-273. The reference is to Lupercio Leonardo de Argensola, who tended to write in the classical style of the early Renaissance (clearly favored by Cervantes) in contrast to the more effusive complexities of the Baroque that were popular in the theater of the time.↵

EG-274. La ingratitud vengada, by Lope de Vega.↵

EG-275. Numancia, by Miguel de Cervantes.↵

EG-276. El mercader amante, by Gaspar de Aguilar.↵

EG-277. La enemiga favorable, by Francisco Agustín Tárrega.↵

EG-278. At the time Cervantes wrote this, the classical rules of drama were not followed anywhere in Europe, at least not in Italy, France, or England. Martín de Riquer wonders if Cervantes might actually have been thinking of prescriptive treatises that were widely published but adhered to by no playwright of significance.↵

EG-279. The description is of Lope de Vega, who wrote hundreds of comedias; the exact number is not known, but a legendary two thousand plays have been attributed to him (not to mention numerous works in other genres). He and Cervantes, his senior by some fifteen years, had a highly competitive relationship. Lope apparently took great offense at this passage.↵

EG-280. Viriato led a Lusitanian (Portuguese) rebellion against the Romans.↵

EG-281. Count Fernán González declared the independence of Castilla from the Moors in the tenth century.↵

EG-282. Gonzalo Fernández was the Great Captain, so called for his military exploits during the reign of the Catholic Sovereigns Ferdinand and Isabella.↵

EG-283. Diego García de Paredes was a military hero who fought with Gonzalo Fernández.↵

EG-284. Pérez de Vargas, a historical figure mentioned in chapter VIII, broke his sword in battle, then tore a branch from an oak tree and used it to kill countless Moors.↵

EG-285. Garcilaso de la Vega, not to be confused with the Renaissance poet of the same name, fought in the war to capture Granada from the Moors.↵

EG-286. Don Manuel de León entered a lion’s cage to recover a glove that a lady had thrown inside in order to test his courage. When he returned the glove, he slapped her for endangering the life of a knight on a whim.↵

EG-287. The two anecdotes appear in a history of Charlemagne and the Twelve Peers ( La historia del emperador Carlomagno y los doce pares de Francia) published in Alcalá in 1589.↵

EG-288. A book entitled Crónica del nobre caballero Guarino Mesquino was cited by Juan de Valdés, an important humanist of the early sixteenth century, as being very poorly written and even more absurd than other novels of chivalry.↵

EG-289. A figure associated with the Lancelot story who passed into popular ballads and became part of the folk tradition in Spain.↵

EG-290. The Provençal story of Pierres de Provence and the beautiful Magalona was extremely popular in the sixteenth century; its Spanish translation was published in 1519.↵

EG-291. These lines were cited previously, in chapter IX.↵

EG-292. A Castilian knight of Portuguese descent who served under Juan II.↵

EG-293. The deeds of these two knights, who were cousins, are narrated in chapter 25 of the Crónica de Juan II (The Chronicle of Juan II).↵

EG-294. Don Fernando de Guevara was also cited in the Crónica de Juan II.↵

EG-295. In 1434, with the permission of Juan II, Suero Quiñones, for the love of his lady, jousted with sixty-eight challenging knights at what is called the Honorable Pass.↵

EG-296. An encounter that was also cited in the Crónica de Juan II.↵

EG-297. Turpin is the fictitious author of a chronicle about Charlemagne.↵

EG-298. This detail seems comically incongruous, yet picking one’s teeth after a meal was so common during the Renaissance that it was employed as a kind of trope for the necessary deceptions of genteel poverty, for example in Lazarillo de Tormes, when the hungry gentleman walks down the street wielding a toothpick to indicate that he has eaten.↵

EG-299. In the first edition, the character is called Rosa twice and Roca once; subsequent editions, including many modern ones, call him Roca; in the first English, French, and Italian translations, which are cited by Martín de Riquer, Shelton calls him “Vincente of the Rose,” Oudin calls him “Vincent de la Roque,” and Franciosini calls him “Vincenzio della Rosa.”↵

EG-300. The identities of these two men are not known; according to Martín de Riquer, it is possible that the manuscript read “Garci Lasso,” who was cited earlier, in chapter XLIX, with García de Paredes.↵

EG-301. In Spanish, as in many other languages, varying degrees of deference, distance, familiarity, intimacy, and significant class distinctions can be shown by the form of address, either second or third person, singular or plural.↵

EG-302. Arcadia was a region of the Peloponnesus where classical and Renaissance authors frequently located their pastoral novels; two important works of this extremely popular genre, by Sannazaro and Lope de Vega, were entitled La Arcadia, and Cervantes himself published a pastoral novel called La Galatea.↵

EG-303. Penitents in Spain, for example those still seen today in Holy Week processions, and those brought before the tribunals of the Inquisition, wore sheets and hoods that bear an unfortunate resemblance to the outfits of the Ku Klux Klan.↵

EG-304. Only seventeen days had passed since Don Quixote’s second sally.↵

EG-305. As indicated in an earlier note in chapter VII, there is a good amount of variation in the name of Sancho’s wife.↵

EG-306. These are the horses of Orlando and Reinaldos de Montalbán. It should be noted that this sonnet, the kind called caudato in Italian, has an extra tercet.↵

EG-307. The line, from Orlando furioso, should read, Forse altri canterà con miglior plettro (“Perhaps another will sing in a better style”), and is cited by Cervantes in the first chapter of the second part of the novel.↵

EG-308. Don Pedro Fernández Ruiz de Castro (1576–1622), seventh count of Lemos, was the viceroy of Naples from 1610 to 1616. He was patron to several writers, including Cervantes, who dedicated to him the Novelas ejemplares (Exemplary Novels) in 1613, the Comedias y entremeses (Plays and Interludes) in 1615, the second part of Don Quixote, also in 1615, and Persiles y Sigismunda (a “Byzantine” novel) in 1616, five days before Cervantes’s death.↵

EG-309. In 1614, what is generally known as the “false Quixote” appeared in Tarragona. Its title was The Second Volume of the Ingenious Gentleman Don Quixote of La Mancha; its author has never been identified, though the book was published under the name of “Alonso Fernández de Avellaneda, a native of the town of Tordesillas.” Cervantes apparently learned of its publication as he was writing chapter LIX of the authentic second part.↵

EG-310. Despite his disclaimer, in his prologue Cervantes obviously is responding to the prologue of the “false Quixote.” The “greatest event” to which Cervantes refers is the battle of Lepanto, where he was wounded.↵

EG-311. An allusion to Lope de Vega; according to Avellaneda’s prologue, Lope was unjustly attacked by Cervantes in the first part of Don Quixote; the protestations that follow here are pointedly disingenuous, for despite his being a priest, Lope de Vega’s dissolute private life was common knowledge.↵

EG-312. There seems to be no information about this work, which has probably been lost; there is speculation that an interlude called La Perendeca, published in 1663 by Agustín Moreto, may be an adaptation of the one Cervantes had in mind.↵

EG-313. The Cardinal Archbishop of Toledo, Cervantes’s protector.↵

EG-314. A satirical work in verse written during the reign of Enrique IV (1454–1474), it was widely circulated and immensely popular.↵

EG-315. This was never published, and if Cervantes in fact wrote it, the work has been lost.↵

EG-316. Famous legislators of ancient Sparta and Athens, respectively.↵

EG-317. The reference is to a well-known popular tale.↵

EG-318. The second line, in Italian, closes part I of Don Quixote.↵

EG-319. The first poet is Luis Barahona de Soto, who wrote Las lágrimas de Angélica (The Tears of Angelica); the second is Lope de Vega, who wrote La hermosura de Angélica (The Beauty of Angelica).↵

EG-320. Subsequent to the publication of part II, both Góngora and Quevedo wrote satires of the epic of Charlemagne, including the love of Roland and Angelica, which had been so popular in the early Renaissance.↵

EG-321. The honorific don or doña was supposed to be used only with specific ranks of nobility, though many people added the title to their names without having any right to it.↵

EG-322. See note 6, chapter IX, part I, for a discussion of the Moorish “author’s” name.↵

EG-323. Sansón is the Spanish equivalent of Samson.↵

↵

EG-324. The ordinary clothing of the clergy and of scholars; the term is used here mockingly, as if it were the habit of one of the great military orders, such as the order of Santiago (St. James).↵

EG-325. Part I had been printed three times in Madrid (twice in 1605, once in 1608), twice in Lisbon (1605), twice in Valencia (1605), twice in Brussels (1607, 1611), and once in Milan (1610) when Cervantes probably wrote these lines. It did not appear in Barcelona until 1617 (when the first and second parts were printed together for the first time) or in Antwerp until 1673 (it is assumed that Cervantes wrote Antwerp instead of Brussels). All of these editions are in Spanish; the first translation of the book (into English, by Thomas Shelton) appeared in London in 1612.↵

EG-326. Alonso de Madrigal, bishop of Avila, an immensely prolific writer of the fifteenth century.↵

EG-327. A line from Horace’s Ars poetica: “From time to time even Homer nods.”↵

EG-328. “The number of fools is infinite.”↵

EG-329. This incident appears in Ariosto’s Orlando furioso.↵

EG-330. The medieval battle cry of Spanish Christians engaged in combat with Muslims.↵

EG-331. In Cervantes’s day, the redondilla was a five-line stanza, and the décima was composed of two redondillas.↵

EG-332. The original, by Cide Hamete Benengeli, is in Arabic. In part I, a translator was hired in the market in Toledo; his translation is the history of Don Quixote described by the bachelor in part II.↵

EG-333. Teresa has the proverb backward. It should be “Where kings go laws follow.”↵

EG-334. The allusion is to a ballad about Doña Urraca’s desire to go wandering.↵

EG-335. Sancho confuses almohada, the Spanish for “pillow” or “cushion,” and Almohade, the name of the Islamic dynasty that ruled North Africa and Spain in the twelfth century.↵

EG-336. “Apportioning the sun” (partir el sol) was the arrangement of combatants in a tourney so that the sun would not shine in anyone’s eyes; “slashing to bits” is Cervantine wordplay.↵

EG-337. The stigmatizing hood and robe that those accused by the Inquisition were obliged to wear.↵

EG-338. A kind of black stone that once was used to test the purity of gold or silver by rubbing the stone with the metal and analyzing the streak left behind.↵

EG-339. Garcilaso de la Vega (1503–1536), the great Renaissance poet, perfected the Petrarchan style in Spanish.↵

EG-340. The housekeeper’s statement is based on her confusing aventura (“adventure”) with ventura (“happiness,” “luck,” and “fortune” are the relevant meanings). I’ve translated ventura as “venture” in order to establish the connection with “adventure,” though a better word would probably be “fortune.”↵

EG-341. This was a prayer to cure toothache.↵

EG-342. A secondary meaning for bachiller (the holder of a bachelor’s degree) is “a person who babbles or chatters.” Cervantes plays with the two meanings of the word.↵

EG-343. With this sentence, Don Quixote again uses a more distant form of address with Sancho in order to indicate his displeasure; he does not return to less formal address until he speaks to Sancho again, following Sansón Carrasco’s arrival on the scene.↵

EG-344. The Latin phrase translates roughly as “Then well and good” or “That’s fine with me.”↵

EG-345. The housekeeper, mentioned a few sentences down, clearly comes in now, too, but because of an oversight or an error, by Cervantes or his printer, she is not alluded to here.↵

EG-346. Garcilaso de la Vega, in his third eclogue.↵

EG-347. The temple, also called the Pantheon, was in fact visited by Charles, who would walk through Rome in disguise; the anecdote told here does not appear in any other text, however, and may be an invention of Cervantes.↵

EG-348. In this example of Sancho’s linguistic and historical confusions, the wordplay is based on the fact that in Spanish julio is the month of July, while Julio is the equivalent of Julius; agosto is the month of August, while Agosto is the equivalent of Augustus.↵

EG-349. The line is from an old ballad, “El conde Claros” (“Count Claros”).↵

EG-350. This statement is one of the best known in the novel, for it has been interpreted as meaning that Don Quixote and Sancho have “run into” the church in the sense of coming into dangerous conflict with the institution. The sentence is sometimes cited using another verb to underscore that meaning: topar (the verb used by Sancho just a few lines down) rather than dar. According to Martín de Riquer, this is overinterpretation, and the sentence means only what it says: the building is a church, not Dulcinea’s palace.↵

EG-351. Sancho quotes a different version of the ballad of Roncesvalles.↵

EG-352. Highborn ladies would receive visitors in a special room of the house that had lounging pillows.↵

EG-353. Sancho misquotes the proverb.↵

EG-354. The lines are from a ballad about Bernardo del Carpio.↵

EG-355. It was the custom in universities to write on the walls, in red paint, the names of those who had been awarded professorships.↵

EG-356. In the weaving and embroidering of the raised design on brocade, fabric with three levels of handiwork was considered very valuable. Carried away by his fantasy, Sancho exaggerates.↵

EG-357. Municipalities had community grazing lands for the use of residents.↵

EG-358 This is a way to say, “Let’s behave sensibly and realistically.”↵

EG-359. This may be a reference to a religious play of the same title (Las cortes de la muerte) by Lope de Vega; there was, in fact, a theatrical impresario named Angulo el Malo.↵

EG-360. As Martín de Riquer points out, this kind of comparison was common in Spain, and a frequent subject for sermons, so it is not surprising that Sancho repeats it. Whenever Sancho shows signs of erudition—citing Latin words and phrases, for example—his knowledge, by dint of repetition, has its origin in the Church and consequently does not affect the believability of the character.↵

EG-361. Two friendships celebrated in classical mythology, the first Roman, the second Greek.↵

EG-362. The first citation is from a ballad; the second is a proverb that probably appeared in a song or ballad, as the verb “sung” suggests.↵

EG-363. Pliny claimed that the ibis could administer an enema to itself by filling its neck with water and using its long beak as a nozzle.↵

EG-364. A dog returning to its own vomit was cited as a symbol of a backsliding Christian who abandons a vice and then returns to it.↵

EG-365. Cranes were supposed to post sentinels at night, when the rest of the flock was sleeping, and during the day, when they were feeding. All of these concepts regarding animals were fairly commonplace.↵

EG-366. This was an early form of the guitar.↵

EG-367. The reference is to the weathervane at the top of the tower called La Giralda.↵

EG-368. Ancient Iberian stone sculptures of bulls discovered outside Guisando, in the province of Ávila.↵

EG-369. There is a deep chasm close to Cabra, in the province of Córdoba.↵

EG-370. These are paraphrased lines from Alonso de Ercilla’s epic poem La Araucana.↵

EG-371. In religious brotherhoods, fines were paid in specific quantities of long wax candles.↵

EG-372. The phrase means “in order to earn one’s bread.”↵

EG-373. The phrase, “God is in us,” is by Ovid.↵

EG-374. The reference is to the Satires of Horace.↵

EG-375. Augustus exiled Ovid to these islands in the Black Sea.↵

EG-376. The allusion is to the laurel.↵

EG-377. As indicated in note 7, chapter XLIX of part I, Don Manuel de León (León is a province of Spain as well as the word that means “lion”) retrieved a glove from a lion’s cage at the request of a lady and then slapped her for needlessly endangering the life of a knight.↵

EG-378. Certain fine swords had the image of a dog engraved on the blade.↵

EG-379. These are verses from one of Garcilaso’s sonnets.↵

EG-380. A creature who, like an amphibian, spent as much time in the water as on land. As early as the twelfth century, he was alluded to in troubadour poetry and identified with St. Nicolas of Bari.↵

EG-381. Probably Pedro Liñán de Riaza (1558?–1607), a poet praised by Cervantes.↵

EG-382. The meter of Spanish poetry is essentially determined by the number of syllables in a line; the short line (arte menor) has eight syllables or less; the long line (arte mayor) has nine or more syllables. Here the long line is the hendecasyllable—the eleven-syllable line, perfected by Petrarch, which influenced all of European poetry in the Renaissance and is generally associated with the sonnet. Garcilaso de la Vega naturalized this meter in Spanish early in the sixteenth century.↵

EG-383. University students and clerics wore the same kind of clothing.↵

EG-384. People from Sayago (in the modern province of Zamora) spoke with a rustic accent that was often used in the theater for comic effect; natives of Toledo were thought to speak an extremely correct and pure Spanish.↵

EG-385. A village near Madrid.↵

EG-386. The dispute between the bachelor and the licentiate is based on the latter’s adherence to the elaborately theoretical handbooks on the art and science of fencing that were extremely popular in the sixteenth and seventeenth centuries.↵

EG-387. A figure who appears in traditional ballads.↵

EG-388. As indicated earlier, an arroba is a dry weight of twenty-five pounds and a variable liquid measure of 2.6 to 3.6 gallons.↵

EG-389. Money bags were made of cat skin; Roman cats had a black-and-gray-striped fur.↵

EG-390. A phrase used to indicate which contender the speaker favored in a cockfight or in any other kind of contest.↵

EG-391. When they married, peasant women usually wore a medallion with religious images on it.↵

EG-392. Sancho exaggerates to indicate the luxuriousness of the cloth: the warp of velvet normally was two-and-a-half pile.↵

EG-393. Martín de Riquer explains the reference as follows: Sancho’s wordplay alludes to at least three different meanings for the phrase. The first refers to shifting sand banks, making the phrase equivalent to “passing safely between Scylla and Charybdis.” The second alludes to the great Flemish banking houses. The third suggests the banks, or benches, made of a wood called Flanders pine, which the poor used as beds in central and southern Spain. Sancho, then, is saying that Quiteria is beautiful enough to pass through any danger, that she is going to marry a very wealthy man, and that she will soon come to her nuptial bed.↵

EG-394. A proverb that extols the joys of liberty.↵

EG-395. The reference is to the expert swordsman whom they met on the road at the beginning of chapter XIX and who obviously accompanied them throughout the episode of Camacho’s wedding.↵

EG-396. The cave is near one of the Lakes of Ruidera, the source of the Guadiana River.↵

EG-397. The weathervane on the tower of the Church of the Magdalena in Salamanca was in the shape of an angel.↵

EG-398. A pipe that carried Córdoba’s sewage into the Guadalquivir River.↵

EG-399. The first two were in the Prado de San Jerónimo and the third in the Plaza de Oriente, in Madrid.↵

EG-400. The book of the Italian humanist Polidoro Vergilio (1470–1550), De inventoribus rerum, which deals with the origin of inventions, was widely read; it was translated into Spanish in 1550.↵

EG-401. A Spanish term for syphilis.↵

EG-402. Don Quixote paraphrases the words of a ballad.↵

EG-403. The phrase means that matters are being handled by someone competent.↵

EG-404. A Dominican monastery between Ciudad Rodrigo and Salamanca.↵

EG-405. A monastery near Naples that is visible from the sea and invoked by mariners.↵

EG-406. A unit of measurement, roughly seven feet, used to determine height or depth.↵

EG-407. This was worn by the holders of doctoral degrees.↵

EG-408. Round caps that were stiffened by metal bands.↵

EG-409. Montesinos, an important character in the Spanish ballads that recount the legend of Charlemagne, does not appear in French literature; Don Quixote’s adventure is based on the tradition that has Montesinos marrying Rosaflorida, mistress of the castle of Rocafrida that was identified in the popular imagination with certain ruins near the Cave of Montesinos.↵

EG-410. Durandarte, a name originally given to the sword of Roland, became a hero of the Spanish (though not the French) Carolingian ballad tradition. He was the cousin and close friend of Montesinos, whom he asked, before he was killed at Roncesvalles, to carry his heart to his lady.↵

EG-411. The poem is composed of lines from several ballads that deal with the subject.↵

EG-412. The name of one of the lakes is del Rey (“of the King”). All the lakes were the property of the crown except for two, which probably belonged to the Knights of St. John of Jerusalem.↵

EG-413. A line from the ballad about Lancelot that was cited in chapter XIII of the first part.↵

EG-414. This is the Spanish version of the name Fugger, the well-known German family of bankers and merchants who were closely associated with Spain.↵

EG-415. The episode was mentioned in chapter V of the first part.↵

EG-416. An allusion to the many travels of Pedro of Portugal. There is a traditional tendency to say that he traveled to the seven parts (partidas) of the world, rather than the more usual “four corners,” perhaps through confusion with the Siete Partidas, the treatise on laws compiled by Alfonso the Learned (1221–1284), king of Castilla and León.↵

EG-417. A vara is a Spanish linear measurement (.84 meter).↵

EG-418. The count of Lemos, to whom the second part of the novel is dedicated.↵

EG-419. A variable Spanish poetic stanza of four to seven lines, its verses alternating between five and seven syllables.↵

EG-420. The word means “miserliness” or “stinginess.”↵

EG-421. This phrase (literally “what fish are we catching?” or “what are we up to, what are we doing?”) and others like it, as well as the Italian words spoken by the innkeeper, were introduced into Spain by soldiers returning from Italy.↵

EG-422. A character in the novel Amadís of Gaul.↵

EG-423. The phrase is based on John 10:38: “…though ye believe not me, believe the works.”↵

EG-424. The line is taken from the Spanish translation of the Aeneid by Gregorio Hernández de Velasco, 1555.↵

EG-425. The characters and story are taken from Spanish ballads. Gaiferos, Charlemagne’s nephew, was about to marry Charlemagne’s daughter Melisendra, when she was captured by Moors. For some reason Gaiferos spends seven years in Paris, not thinking of her, until Charlemagne persuades him to free her. Roland lends him weapons and a horse, Gaiferos reaches Sansueña, where Melisendra is being held by King Almanzor, and sees her at a window. He rescues her and they flee, pursued so closely by the Moors that Gaiferos has to dismount and do battle with them; he is victorious, and he and Melisendra return to Paris in triumph.↵

EG-426. These verses are from a poem on the subject by Miguel Sánchez.↵

EG-427. The line is from one of the ballads about Gaiferos.↵

EG-428. The lines are taken from a ballad by Francisco de Quevedo (1580–1645), one of the most brilliant literary figures of the Spanish Golden Age.↵

EG-429. A character in the lliad who was extremely old.↵

EG-430. These lines are from one of the many ballads that deal with Don Rodrigo, the last Visigothic king of Spain, who lost the country to the Moors.↵

EG-431. Mono is “monkey,” and mona is “female monkey.” Colloquially, it can also mean “drinking binge” or “hangover.” The Spanish reads, “…no para tomar el mono, sino la mona.”↵

EG-432. A breed of small donkeys native to Sardinia.↵

EG-433. The story is based on the cycle of ballads that deals with the struggle for power among the children of Fernando I, and the siege of Zamora, in the eleventh century.↵

EG-434. The lines in the ballad read: “I challenge you, Zamorans / as false and lying traitors; / I challenge young and old, / I challenge the quick and the dead; / I challenge the plants in the field, / I challenge the river fishes, / I challenge your bread and meat, / and also your water and wine.”↵

EG-435. This was a nickname given to the Andalusian town of Espartinas because, as the story goes, a clock was needed for the church tower, and the priest sent away to Sevilla for a “nice little pregnant female clock” (relojais the nonexistent feminine form of reloj, or “clock”) so that the baby clocks could subsequently be sold. The same story was also told about other towns.↵

EG-436. Nicknames given to the residents of Valladolid, Toledo, Madrid, and Sevilla, respectively.↵

EG-437. As he has done before, an enraged Don Quixote addresses Sancho in more formal terms and does so throughout this paragraph.↵

EG-438. Latin for “by the sign of the cross.”↵

EG-439. In his anger with Sancho, Don Quixote returns to the more distant form of address, which he uses for the next few paragraphs, until he begins to laugh.↵

EG-440. Latin for “the great sea” or “ocean.”↵

EG-441. “There is no honey without gall” (No hay miel sin hiel), or “Nothing is perfect.”↵

EG-442. This was a common belief in Cervantes’s time.↵

EG-443. This phrase is based on the wordplay growing out of bestia, which can literally mean “animal” or “beast” as well as “dolt” or “dunce.”↵

EG-444. Hunting with falcons or other birds of prey was a pastime of the upper classes exclusively.↵

EG-445. An adage that means “Life is full of surprises.”↵

EG-446. This sentence seems to be a misprint in the first edition; Martín de Riquer indicates in a footnote that two other editors, Cortejón and Schevill, suggest, in his opinion correctly, that it read as follows: “…there’s no more Sorrowful Face or Figure [there is an untranslatable wordplay involving figura (“face”) and figuro (a nonexistent masculine form)].” “Let it be of the Lions,” the duke continued. “I say that…”↵

EG-447. A duenna was an older woman of good family, usually a widow, in the service of a noblewoman. She wore a long headdress and wimple, something like a nun’s, which distinguished her from other, usually younger, ladies-in-waiting.↵

EG-448. A gesture of contempt or derision made by placing the thumb between the forefinger and middle finger or under the upper front teeth.↵

EG-449. A military-religious order founded in the twelfth century; Santiago (St. James) is the patron saint of Spain.↵

EG-450. A galley ship sank in the port of La Herradura, near Vélez Málaga, in 1562, and more than four thousand people drowned.↵

EG-451. These were artists of Greek antiquity.↵

EG-452. The word in Spanish, jirón, has several meanings and can also signify a heraldic figure called a “gyron,” a triangular shape that extends from the border to the center of a coat of arms. The allusion is to Dulcinea’s noble blood.↵

EG-453. A major figure in an important early ballad cycle, Florinda, La Cava, the daughter of Count Don Julián, had an illicit and disastrous love affair with King Don Rodrigo; according to legend, the ensuing betrayals and acts of vengeance precipitated the Moorish invasion of 711.↵

EG-454. An allusion to the throne won by El Cid in Valencia.↵

EG-455. This is an allusion to death.↵

EG-456. The original proverb is “Straw and hay and hunger’s away” (De paja y de heno, el vientre lleno).↵

EG-457. A very fine cloth formerly woven in Segovia.↵

EG-458. As indicated earlier, Wamba was a Visigothic king of Spain (672–680).↵

EG-459. The phrase means “no matter how fine.” Brocade of three piles was of the very best quality; in chapter X, Sancho exaggerated by referring to brocade of ten piles.↵

EG-460. The proverb says, “You don’t need here, boy, here, boy, with an old dog” (A perro viejo no hay tus, tus).↵

EG-461. An idiomatic way of saying “trust and confidence.” The phrase that follows is Sancho’s variation on this and means just the opposite.↵

EG-462. “Dead in the flower of his youth,” a line from a poem by Angelo Poliziano dedicated to Micael Verino, a poet who died at the age of seventeen, during the age of the Medicis. Verino was famous for his Latin couplets, which were very widely known.↵

EG-463. This is a variation on the adage about a good wife.↵

EG-464. A card game.↵

EG-465. The Spanish reads cazas ni cazos, a nonsensical wordplay based on caza, “the hunt,” and cazo, “ladle,” which seem to be the feminine and masculine forms of the same word but are not.↵

EG-466. Hernán Núñez Pinciano, who compiled a famous collection of proverbs (Refranes y proverbios) published in 1555.↵

EG-467. A wizard, the supposed chronicler of the Knight of Phoebus.↵

EG-468. The name given to those who carried torches or candles in religious processions.↵

EG-469. A sheer silk fabric.↵

EG-470. The god of the underworld, associated with Pluto, Orcus, and Hades.↵

EG-471. Don Quixote addresses Sancho in a more distant, formal way throughout this paragraph. As always, it indicates extreme anger.↵

EG-472. A formula in the liturgy (abrenuncio) used to renounce Satan. Since Merlin is supposed to be the child of the devil, the phrase is strangely appropriate, even though Sancho mispronounces it (abernuncio).↵

EG-473. This last statement (“and be advised…are worth nothing”) was suppressed by the Inquisition in some editions following the Indice expurgatorio of 1632.↵

EG-474. A person who was whipped publicly was displayed to the crowd mounted on a jackass.↵

EG-475. An allusion to the proverb “God grant that it’s oregano and not caraway,” which expresses the fear that things may not turn out as hoped.↵

EG-476. Sancho hears the name Trifaldi as tres faldas, or “three skirts,” leading to his comments on skirts and trains.↵

EG-477. Lobo is “wolf,” and lobuna is “wolflike”; in the next phrase, zorro is “fox,” and zorruna is “foxlike.”↵

EG-478. Sancho’s statement is taken from a story about a beardless man, frequently teased because he lacked facial hair, who said, “We have a mustache on our soul; the other kind doesn’t matter to us.”↵

EG-479. According to Martín de Riquer, the name Candaya is probably fictional; Trapobana was the old name for Ceylon; Cape Comorín is to the south of Hindustan.↵

EG-480. Maguncia is the Spanish name for the German city Mainz; Antonomasiais a rhetorical figure in which a title is used instead of a name (calling a judge “Your Honor”) or a proper name instead of a common noun (calling a womanizer “Don Juan”); Archipielaseems to be related to archipiélago, or “archipelago.”↵

EG-481. The lines, in Spanish translation, are by the Italian poet Serafino dell’Aquila (1466–1500).↵

EG-482. These lines are by Commander Escrivá, a fifteenth-century poet from Valencia, whose work was greatly admired by many writers of the Golden Age.↵

EG-483. This was in the first edition. Martín de Riquer believes it is an intentional corruption of Ariadne, for comic purposes.↵

EG-484. The last two references in the list were poetic commonplaces.↵

EG-485. “Farewell” in Latin.↵

EG-486. A line from Virgil’s Aeneid (II, 6 and 8): “Who, hearing this, can hold back his tears?”↵

EG-487. The phrase in Spanish (…más oliscan a terceras, habiendo dejado de ser primas…) is based on wordplay that contrasts terceras (“go-betweens” or “panders”) and primas (in this case, “principal party to a love affair”). The humor lies in the connection of the former term to “third” and the latter term to “first.”↵

EG-488. Martín de Riquer points out that the History of the Fair Magalona, Daughter of the King of Naples, and Pierres, Son of the Count of Provence (Burgos, 1519) a Provençal novel translated and adapted into almost every European language, has no reference to such a horse, though one does appear in other narrations of this type.↵

EG-489. Clavileño, like Rocinante, is a composite name, made up of clavi from clavija (“peg”) and leño (“wood”).↵

EG-490. Sancho mentions this same Neapolitan monastery during the adventure of the Cave of Montesinos, when he blesses Don Quixote before his descent (chapter XXII).↵

EG-491. A place where the Holy Brotherhood executed criminals.↵

EG-492. The reference is to the myth of Phaëthon.↵

EG-493. A reference to an actual person, Dr. Eugenio Torralba, tried by the Inquisition of Cuenca in 1531, about whom it was said that he flew through the air on a reed.↵

EG-494. The name of a Roman prison.↵

EG-495. Charles, duke of Bourbon (1490–1527), fighting in the armies of Charles V of Spain, was killed during the sack of Rome.↵

EG-496. Magallanes, the Spanish for Magellan, the Portuguese navigator, is used for comic effect to indicate Sancho’s ignorance of courtly tales and the names of their protagonists.↵

EG-497. In this phrase Cervantes takes advantage of two meanings of arrullador: “cooing” and “wooing.” I have translated it as “suitor,” hoping that the idea of billing and cooing is implicit in the word.↵

EG-498. The constellation of the Pleiades.↵

EG-499. The wordplay here does not translate into English. Cabrónis both “male goat” and “cuckold”; the sign of the cuckold is horns, as in “the horns of the moon” in the next sentence.↵

EG-500. A formula indicating complete agreement with another person’s opinions.↵

EG-501. The cross that is placed at the beginning of the alphabet in a child’s primer.↵

EG-502. The author of a book of aphorisms, Disticha Catonis, which was so popular a text in schools that primers were called “Catos.”↵

EG-503. Don Quixote’s advice to Sancho is one of the most famous passages in the novel. Martín de Riquer notes the difficulty of determining Cervantes’s exact sources, although he states that the general influence of Erasmus is evident, and he also cites a handful of books on good government, both classical and Renaissance, available in Spanish at the time. Whatever the sources, Don Quixote’s remarks to the future governor are clearly the polar opposite of Machiavelli’s counsel to the prince.↵

EG-504. An allusion to a fable by Phaedrus, a Latin fabulist of the first century who wrote in the style of Aesop.↵

EG-505. This is based on a proverb: “I don’t want it, I don’t want it, just toss it into my hood.”↵

EG-506. This is the first half of a proverb: “When your father’s the magistrate, you’re safe when you go to trial.”↵

EG-507. Juan de Mena (1411–1456), probably the most historically significant courtly poet of the fifteenth century.↵

EG-508. St. Paul, Corinthians 1.↵

EG-509. Cervantes uses a phrase, dar pantalia, whose exact significance is not clear. It can mean either polishing or repairing shoes (Shelton translates it as “cobble,” but the contemporary French and Italian versions differ).↵

EG-510. The image of the impoverished gentleman who picks his teeth so that everyone will think he has eaten appeared in the anonymous Lazarillo de Tormes (1554), the first picaresque novel.↵

EG-511. The allusion is to a pearl that belonged to the Spanish monarchy. Since it had no equal, it was called La Sola, “the Only One.”↵

EG-512. According to legend, the place on the Capitoline Hill where Nero stood as he watched Rome burn.↵

EG-513. The invocation is to the sun, whose rays make it necessary to move decanters around in a bucket of snow to keep them cool.↵

EG-514. These are some appellations of Apollo, god of the sun.↵

EG-515. A phrase from Aristotle’s Physics, II, 2.↵

EG-516. The name of the ínsula and the village, and the fact that Sancho did nothing to merit the governorship, are based on the root word barato, “cheap.”↵

EG-517. In other words, he has been admitted to the tailors guild. He asks to be excused because, at the time, tailors were held in exceptionally bad repute.↵

EG-518. The judge’s staff of office was used to take sworn testimony.↵

EG-519. The story, in fact, dates back to the popular life of the saints called The Golden Legend (Legenda aurea) by the Italian Dominican Iacopo da Varazze (1228?–1298).↵

EG-520. This story appears in Norte de los Estados, by Fr. Francisco de Osuna (Burgos, 1550).↵

EG-521. A medicinal preparation for treating wounds devised in the sixteenth century by Aparicio de Zubia.↵

EG-522. The physician’s medical theorizing is based on the idea of the four cardinal humors.↵

EG-523. A parody of the aphorism Omnis saturatio mala, panis autem pessima (i.e., “bread” instead of “partridges”).↵

EG-524. A traditional Spanish stew that includes chickpeas, ham, and chicken in addition to the usual meats and vegetables ordinarily found in a stew.↵

EG-525. “By no means!” in Latin.↵

EG-526. Recio can mean “vigorous,” “violent,” or “difficult”; agüerois “omen” tirteafuera is roughly equivalent to “get the hell out.”↵

EG-527. “Evil omen.”↵

EG-528. Basques were frequently appointed as secretaries because of their reputation for loyalty.↵

EG-529. The root perl-is related to “pearl”; the term Cervantes uses for “palsied” or “paralyzed” is perlático, allowing for the wordplay in these lines.↵

EG-530. There were, at the time, two Asturian provinces: Asturias de Oviedo and Asturias de Santillana.↵

EG-531. People from the northern mountains were considered to be noble because, compared to other Spaniards, they had relatively few Jewish or Moorish forebears in their family backgrounds.↵

EG-532. If one came across a distinguished person in the street, it was a sign of respect (though it more often indicated self-interested flattery) to leave one’s own route and accompany him.↵

EG-533. Since there was no earlier indication of the lady’s rank, Martín de Riquer believes that the printer confused this noblewoman with Doña Rodríguez’s current employer.↵

EG-534. An incision cut into the body to allow the discharge of harmful substances.↵

EG-535. A dish of chopped meat flavored with salt, pepper, vinegar, onion, and sometimes oil and anchovies.↵

EG-536. As indicated earlier, this is a traditional Spanish stew; podridaliterally means “rotten” or “putrid.”↵

EG-537. The identity of Andradilla is not known. A note in Shelton’s translation identifies him as “Some famous cheater in Spain,” but, as Martín de Riquer says, this clarifies nothing.↵

EG-538. A battle game played on horseback with canes instead of lances.↵

EG-539. It was a commonplace, when people suffered a misfortune, to say that it helped reduce the number of sins they would have to atone for.↵

EG-540. Frequently, among the lower classes, a wife was called by the feminine form of her husband’s given name.↵

EG-541. Aranjuez is a royal palace famous for its fountains; fuenteis the word for both “fountain” and “issue,” which allows the wordplay.↵

EG-542. This was a way of publicly insulting a woman.↵

EG-543. A saying that seems to mean “A person cannot do more than give you what he has.”↵

EG-544. A Castilian dry measure, approximately 4.6 liters and roughly equivalent to a peck.↵

EG-545. “…says how crude, how crude,” a proverb aimed at the poor who prosper and then scorn their old friends.↵

EG-546. “St. Augustine places that in doubt,” a phrase used by students in doctrinal controversies.↵

EG-547. A phrase quoted in chapter XXV; it is based on John 10:38: “…though ye believe not me, believe the works.”↵

EG-548. A courteous formula for inviting someone to eat with you.↵

EG-549. “Be a friend to Plato, but a better friend to the truth.”↵

EG-550. A dry measure roughly equivalent to 1.6 bushels in Spain.↵

EG-551. The phrase is based on a proverb: “When you have a good day, put it in the house,” which is roughly equivalent to “Make hay while the sun shines.”↵

EG-552. A phrase that alludes to the Final Judgment, suggesting punishment for sin; in English we would say, figuratively, that something we disapprove of is a “sin” or a “crime.”↵

EG-553. A village in the present-day province of Teruel.↵

EG-554. Currently a literary term for “summer” (verano); when the year was divided into three seasons, estío was the season that began at the vernal equinox and ended at the autumnal equinox.↵

EG-555. Blazing pots filled with pitch and other flammable material, which were thrown at the enemy.↵

EG-556. This indicates that what has just been said is either impossible or untrue.↵

EG-557. An allusion to the story of a man who sucked on an egg, and when the chick peeped in his throat, he said: “You peeped too late.”↵

EG-558. Shoes worn by the nobility were often decorated with holes and cutouts.↵

EG-559. The equivalent phrases in Spanish, mentir por mitad de la barbaand mentir por toda la barba (“to lie through half of one’s beard” and “to lie through one’s whole beard”), mean essentially the same thing; unfortunately, the contrast between “half” and “whole” makes little sense in English.↵

EG-560. Martín de Riquer indicates that hoodlums and thieves frequently dressed as pilgrims.↵

EG-561. “Money” in German.↵

EG-562. A person of Muslim descent, living in territory controlled by Christians, who had ostensibly, and often forcibly, been converted to Christianity.↵

EG-563. Between 1609 and 1613, public proclamations ordered the immediate expulsion from Spain of the Moriscos, who were accused of continuing to practice Islam in secret and of having a pernicious influence on Spanish society.↵

EG-564. In contemporary Spanish, the word is spelled caviar.↵

EG-565. This phrase is taken from a ballad that begins: “Nero, on Tarpeian Rock, / watched as Rome went up in flames; / crying ancients, screaming infants, / and not one thing caused him sorrow.”↵

EG-566. The word in Spanish is sagitario, which in underworld slang also meant a person who was whipped through the streets by the authorities. Martín de Riquer speculates that since this meaning seems out of place here, Sancho may simply be repeating a word he has heard Don Quixote use or is referring indirectly to the rigor of his governance by alluding to the archers of the Holy Brotherhood who executed criminals at Peralvillo.↵

EG-567. A legendary Moorish princess whose father, Gadalfe, built gorgeous palaces for her in Toledo, on the banks of the Tajo. She later converted and became the first wife of Charlemagne. The story gave rise to an idiom: if people are not happy with their accommodations, they are often asked if they would prefer the palaces of Galiana. It was also the subject of Maynet, a French epic chanson about the youthful adventures of Charlemagne.↵

EG-568. A reference to a ballad that begins, “Doña Urraca, that princess,” in which one of the lines reads: “Take up thick ropes and stout cords.”↵

EG-569. Martín de Riquer believes this may be a game called “four corners;” each of four positions is occupied by one player, a fifth is in the middle, the four change places, and “it” tries to take over a corner, forcing the original occupant into the center.↵

EG-570. An allusion to Law 19 of the Council of Trent prohibiting challenges and tourneys.↵

EG-571. A breed of horses that are very strong, with broad hooves.↵

EG-572. As indicated earlier, this meant to divide the field in such a way that the sun would not be in one combatant’s eyes more than in the other’s.↵

EG-573. Vireno abandoned Olimpia in Ariosto’s Orlando furioso; Aeneas abandoned Dido in Virgil’s Aeneid.↵

EG-574. Three card games in which kings, aces, and sevens, respectively, are the most valuable cards.↵

EG-575. Martín de Riquer points out that there is no ironic or comic intent involved in using the honorific donwith St. George, the patron saint of the crown of Aragón: in medieval Catalonian texts, he was referred to as Monsenyer Sant Jordi.↵

EG-576. Matthew 11:12.↵

EG-577. A mythical animal with the body and hind legs of a lion and the head, wings, and forelegs of an eagle.↵

EG-578. It was traditional to attribute superstitious beliefs to people named Mendoza.↵

EG-579. The phrase in Spanish is ¡Santiago, y cierra España! The verb cerrarusually means “to close,” but Martín de Riquer points out that it could also mean “attack,” so that the battle cry, with the addition of a comma, should be “St. James, and attack, Spain!” He also remarks on the fact that Don Quixote does not answer Sancho’s very reasonable question.↵

EG-580. Hagar, Abraham’s concubine and the mother of Ishmael, is considered the mother of all Arab peoples and, by extension, of Muslims.↵

EG-581. Vulcan, married to Venus, threw a net over her and Mars while they were making love.↵

EG-582. Originally a rural district in the Peloponnesus, Arcadia subsequently became the preferred setting in Renaissance pastoral literature.↵

EG-583. Luiz Vaz de Camoes, the great Portuguese poet of the sixteenth century (1524?–1580).↵

EG-584. A hunter who came upon Diana when she was bathing; she turned him into a stag, and he was then torn to pieces by his own dogs.↵

EG-585. In the Don Quixoteby Avellaneda, which is the book the two travelers are discussing, Don Quixote renounces his love for Dulcinea and is then called the Disenamored Knight.↵

EG-586. According to Martín de Riquer, these are the insults directed at Cervantes that are mentioned in the prologue to the authentic part II.↵

EG-587. Many critics have attempted to prove that Avellaneda was Aragonese on the basis of this statement, but Martín de Riquer states that it cannot be proved. He points out that the omission of articles has never been a characteristic of the Aragonese dialect or of writers from Aragón; further, in Avellaneda’s book there are only four cases of missing articles, something that could just as easily be found in texts by Cervantes. If Cervantes uses “articles” to mean “particles” (as some contemporary grammarians did), there are more instances of this kind of omission in the “False Quixote,” but it is still not a characteristic of Aragonese writing.↵

EG-588. As Martín de Riquer points out, the error is less Avellaneda’s than Cervantes’s; in part I, Sancho’s wife had four different names, one of which was Mari Gutiérrez.↵

EG-589. According to Martín de Riquer, Avellaneda’s Sancho, unlike the original, is stupid, slovenly, and coarse.↵

EG-590. The idiom (hecho equis) means “staggering drunk” and is based on the image of the shape an inebriated person’s legs assume when he stumbles and struggles to keep his balance.↵

EG-591. A chivalric activity in which men on horseback would gallop past a ring hanging from a cord and attempt to catch it on the tip of their lance.↵

EG-592. The verses and epigrams, normally alluding to their ladies, on the shields carried by knights in jousts.↵

EG-593. Martín de Riquer indicates that this objection is not justified, since Avellaneda’s descriptions of the liveries worn at the Zaragozan jousts are adequate.↵

EG-594. This parodies a celebrated statement attributed to Duguesclin (also known as Beltrán del Claquín), a French knight of the fourteenth century who came to Spain with an army of mercenaries to assist Enrique de Trastámara in his war with Pedro el Cruel: “I depose no king, I impose no king, but I shall help my lord.”↵

EG-595. These are lines from one of the ballads about the Infantes of Lara.↵

EG-596. In Cervantes’s time, banditry was an especially severe problem in Cataluña.↵

EG-597. A short, high-necked jacket of mail that was usually sleeveless.↵

EG-598. A kind of short harquebus favored by the bandits of Cataluña; they were usually worn on a leather bandolier called a charpa.↵

EG-599. Martín de Riquer points out that this is a mistake: the reference should be to Busiris, an Egyptian king who killed foreigners as sacrifices to the gods.↵

EG-600. Perot Roca Guinarda was a historical figure whom Cervantes had already praised in his dramatic interlude La cueva de Salamanca (The Cave of Salamanca). Born in 1582, he fought constantly in factional wars, and although his adversaries favored the nobility, he received support from members of the aristocracy and the Church hierarchy, including Don Antonio Moreno, who plays a part in Don Quixote’s adventures in Barcelona. Roca Guinarda was known for his chivalric nature, and like other Catalan bandits, or bandoleros, he eventually abandoned his former life of crime and fought for the Spanish crown in Italy and Flanders. In 1611, he was granted a pardon and left for Naples as a captain in the Spanish army. The date of his death is unknown. As Martín de Riquer indicates, the topic of the Catalan bandit became a romantic theme in the literature of the sixteenth and seventeenth centuries, as exemplified by these passages in Don Quixote.↵

EG-601. The factions, or bandos, gave rise to the word bandolero (cf. “band” and “bandit” in English).↵

EG-602. Martín de Riquer states that many of the Catalan bandoleros were in fact from Gascony and may have been Huguenot fugitives from France.↵

EG-603. According to Martín de Riquer, Roque kept what could not be divided and gave his men their share of its equivalent value in money.↵

EG-604. This is the Catalan word for “thieves,” used here as an insult.↵

EG-605. Martín de Riquer points out that, given the similarities between the languages of Gascony and Cataluña, the bandoleros probably spoke a mixture of the two; frade, however, is Portuguese (the word for “friar” is frare in Catalan, frayre in Gascon). Riquer assumes that either Cervantes mistakenly attributed a Portuguese word to the bandits or the typesetter made an error.↵

EG-606. It is Martín de Riquer’s opinion that the reference is to the commemoration of John the Baptist’s beheading (August 29), not to the celebration of his birth (June 24).↵

EG-607. The Niarros (Nyerros in Catalan) and the Cadells were the factions in whose wars the historic Roque had been involved.↵

EG-608. More accurately, the viceroy of Cataluña.↵

EG-609. A prickly evergreen shrub native to European wastelands.↵

EG-610. Manjar blanco: a dish made of chicken breasts, rice flour, milk, and sugar.↵

EG-611. In Avellaneda’s book, Sancho is said to be extremely fond of rissoles.↵

EG-612. Martín de Riquer is certain the reference is to Michael Scot (d. ca. 1232), who studied at Oxford, Bologna, Paris, and eventually Toledo, where he learned Arabic, the language from which he translated (or supervised the translation of) many of Aristotle’s writings into Latin. Escotillois the diminutive of Escoto, his name in Spanish. For a variety of reasons, including his interests in astrology, alchemy, and the occult sciences, he was widely known as a magician and soothsayer.↵

EG-613. “Flee, enemies,” a formula used in exorcisms.↵

EG-614. According to Martín de Riquer, Cervantes is describing the printing house of Sebastián de Cormellas, on Calle del Call, which brought out a good number of the classic works of the Spanish Golden Age.↵

EG-615. Martín de Riquer points out that the book has not been identified and that in Italian the title would be Le Bagattelle, not Le Bagatele. There has been speculation that this might be an anagram for Le Galatee, by Giovanni della Casa, which was translated into Spanish in 1585 by Dr. Domingo Becerra, who was a prisoner in Algiers at the same time as Cervantes.↵

EG-616. Cristóbal Suárez de Figueroa’s translation of II pastor Fido, by Battista Guarini, was published in Naples in 1602; Juan de Jáuregui’s translation of Torquato Tasso’s L’Aminta was published in Rome in 1607.↵

EG-617. Luz del alma… (Valladolid, 1554), by the Dominican friar Felipe de Meneses, was heavily influenced by Erasmus. For a time it was widely read and had several printings, though none in Barcelona, as far as anyone knows.↵

EG-618. Avellaneda called himself “a native of the town of Tordesillas.” Apparently there was no Barcelona edition of the “false Quixote” in the seventeenth century; the second printing appeared in Madrid in 1732.↵

EG-619. The phrase in Spanish is …su San Martín se le llegará, como a cada puerco. “Having your St. Martin’s Day come” is roughly equivalent to “paying the piper” in English, since St. Martin’s Day also refers to the time when animals were slaughtered.↵

EG-620. An officer in command of four galleys.↵

EG-621. This meant that they were prepared to row.↵

EG-622. One of the oarsmen who sat with his back to the stern.↵

EG-623. The castle of Montjuich, which overlooks Barcelona.↵

EG-624. Félix (feliz in contemporary Spanish) means “happy” or “fortunate.”↵

EG-625. Cervantes creates a wordplay that cannot be duplicated in English. It is based on loco (“crazy” or “mad”) and the possibilities of “dis located” (deslocado).↵

EG-626. He was in charge of the expulsion of the Moriscos from Castilla.↵

EG-627. Felipe III (1578–1621) became king in 1598 and ruled until his death.↵

EG-628. These lines by Ariosto are also cited in chapter XIII of the first part.↵

EG-629. This story is taken from the Floresta general (General Anthology) by Melchor de Santa Cruz, a sixteenth-century student and collector of proverbs.↵

EG-630. The untranslatable wordplay is based on the verb deber, which is the equivalent of “must” as well as of “owe.”↵

EG-631. It was believed that goblins turned buried treasure into coal, which is the origin of the phrase tesoro de duende (“goblin’s treasure”) to describe wealth that is squandered.↵

EG-632. Martín de Riquer points out that despite this essentially satiric depiction of the pastoral novel, Cervantes was very pleased with his pastoral Galatea and was working on its second part at approximately the same time that he wrote this passage.↵

EG-633. This name is based on a pastoral version of Micolás for Nicolás.↵

EG-634. At one time it was thought that Nemoroso, in Garcilaso’s first eclogue, was the poet’s friend and fellow poet Boscán (a name related to bosque, or “forest”): Nemushas the same meaning in Latin.↵

EG-635. The Spanish word for “priest” that is used here is cura.↵

EG-636. Ona is an augmentative ending, so that Teresona is roughly equivalent to “Big Teresa.”↵

EG-637. The words mean “curry comb,” “to eat lunch,” “carpet,” “bailiff,” “lavender,” “storehouse,” “money box.” Despite the general correctness of this oddly placed lesson in etymology, Martín de Riquer points out that Cervantes is not entirely accurate in the examples he chooses, although he agrees generally with the linguists of his day.↵

EG-638. The words mean “Moorish half-boot,” “hovel,” “ancient Spanish coin.”↵

EG-639. The words mean “gillyflower,” “teacher of the Koran.”↵

EG-640. In Spanish, primer sueño, or “first sleep,” is the equivalent of “beauty sleep”—that is, sleep before midnight, generally considered the most restful.↵

EG-641. “After the darkness I hope for the light,” cited by Martín de Riquer as Job 17:12, although in the King James Bible that line reads, “They change the night into day: the light is short because of darkness.” Perhaps more important than the biblical source is the fact that the phrase was the motto of the printer Juan de la Cuesta and therefore appears on the frontispiece of the earliest editions of both parts of Don Quixote.↵

EG-642. The madrigal is a translation from the Italian of a poem by Pietro Bembo (1470–1547).↵

EG-643. A nomadic and fierce people from southeastern Europe; their territory, Scythia, lay between the Carpathians and the Don.↵

EG-644. One of the Cyclopes, he was blinded by Ulysses.↵

EG-645. The earliest Greek poets, including Orpheus, were allegedly from Thrace.↵

EG-646. This second stanza is from Garcilaso’s third eclogue.↵

EG-647. With his brother, Minos, he was a judge of the shades in Hades.↵

EG-648. Martín de Riquer points out that the first edition had Literather than Dite (Spanish for “Dis”), which he thinks resulted from some confusion with Leteo (Lethe), the mythical river of oblivion. In any case, Dis is another name for Pluto, or Hades, the god of the underworld.↵

EG-649. The second part of the proverb is: “…that she didn’t leave any, green or dry.”↵

EG-650. A cosmetic lotion made of vinegar, alcohol, and aromatic essences.↵

EG-651. The line is by Garcilaso.↵

EG-652. The lines are from a ballad.↵

EG-653. Latin for “given free of charge.”↵

EG-654. The rest of the proverb is: “with a bare line.”↵

EG-655. The sun, in Greek mythology.↵

EG-656. The reference is to Paris abducting Helen, who was married to Menelaus; this incident sparked the Trojan War.↵

EG-657. In Virgil’s recounting of the legend, Dido, the founder of Carthage, had a love affair with Aeneas, a hero of the Trojan War and the founder of Rome. When he abandoned Dido, she killed herself on a funeral pyre.↵

EG-658. The joke is based on the repetition of the initial din both Latin and Spanish (Dé donde diere: “Give wherever you choose”) and on the duplication of rhythm in the two phrases, which actually have no other connection.↵

EG-659. The phrase is equivalent to “as it was before”—that is, “up to your old tricks.”↵

EG-660. Don Álvaro Tarfe is a character in Avellaneda’s Don Quixote.↵

EG-661. The madhouse in Toledo, where Avellaneda’s Don Quixote is confined.↵

EG-662. Martín de Riquer observes that this statement probably alludes to a comic anecdote regarding the fate of a man who had been whipped.↵

EG-663. Don Quixote’s misunderstanding is based on the fact that in Spanish, the objective pronoun la is the equivalent of both “it” and “her” in English.↵

EG-664. Latin for “a bad sign” or “an evil omen.”↵

EG-665. An embroidered cloth or tapestry, bearing a knight’s coat of arms, that was draped over pack mules.↵

EG-666. As Martín de Riquer observes, Sancho seems to be citing an inappropriate proverb, since he means to say that despite his wretched appearance, he has brought home money.↵

EG-667. The lines are from a Christmas carol.↵

EG-668. The origin of the proverb was the tradition of forming flutes or pipes out of green barley stems; it is used when a mature and sensible person does not wish to engage in childish activities.↵

EG-669. The Italian Jacopo Sannazaro (1458–1530) was the author of La Arcadia, the first pastoral novel of the Renaissance.↵

EG-670. This was recounted by Avellaneda at the end of his book; he also expresses his confidence that another author will take up the task of writing the new adventures of Don Quixote.↵

EG-671. “Farewell” in Latin.↵