CHAPTER XXXII



289. The Don Cirongilio of Thrace, in four books, by Bernardo de Vargas, was
published at Seville in 1545. Copies are preserved in the Biblioteca Nacional
of Madrid and the British Museum. The Felixmarte of Hircania has been referred
to as Florisntarte of Hircania (see Chapter vi, note 4). The History of the
Great Captain Gonzalo Hernandez de Cdrdoba y Aguilar, with the Life of the
Knight D. Garcia de Paredes was published at Seville in 1580 and 1582; there
are copies in the British Museum and the library of the Hispanic Society.
This is a later account based upon the Chronicle Entitled the Two Conquests
of the Kingdom of Naples (Saragossa, 1559), copies of which are to be found
in the Biblioteca Nacional and the library of the Hispanic Society. Gonzalo
was the general in command against the Moors at Granada and the French at
Naples. Garda de Paredes was his comrade-in-arms in both campaigns.

290. I follow here the reading of the first, second, and third editions, "more
books," instead of "my books," the reading of the edition of Brussels which
has been adopted by other translators. In Chapter xxvu preceding, the curate
tells the innkeeper and his wife of Don Quixote's madness and may have men-
tioned the burning of the knight's books.

291. The montante was a broadsword with large quillons, requiring two hands
to wield it.

292. I follow the readings of Hartzenbusch and Schevill, in place of "what I
have read of Felixmarte of Hircania."



CHAPTER XXXIII



293. Schevill remarks that similar views of women are to be found in many of
Cervantes' contemporaries. This was, as a matter of fact, a prolongation of
the attitude toward the sex that was held at the close of the Middle Ages.
Compare the " Querelle des femmes," or argument over the "woman question,"
among French writers of the sixteenth century, e.g., Rabelais. Ormsby ob-
serves that "among the scenes of the Italian and Spanish tales of intrigue
the church plays a leading part." "Private visits to religious shrines"
is a rendering of the

Spanish " estaciones " and refen to "attendance at church for private
devotion at other hours than those of the celebration of the mass."
(Ormsby)

294. Proverbs 31:10: "Who can find a virtuous woman--for her price is far
above rubies."

295. Allusion to Pericles in Plutarch's On False Shame.

296. I follow the reading of the fint two editions, instead of the later
one, "our holy religion."

297. Le Lagrime de San Pietro by Luigi Tansillo (1510-1568).

298. The cup was supposed to be a magic one. If the wife of the one who
drank from it was unfaithful, it would spill. There is a confusion here
of two stories in the Orlando Furioso, xliii.

299. Reference to the well-known classic myth which tells how Zeus visited
Danae in her prison tower in the form of a shower of gold.

300. Genesis 2:24: "Therefore shall a man leave his father and his mother,
and shall cleave unto his wife: and they shall be one flesh." Lotario
omits the central clause.



CHAPTER XXXIV



301. This sonnet, like the one in Chapter xxiu preceding, will be found in
Cervantes' play The House of Jealousy.

302. Commentators have seen these sonnets as "isolated compositions," having
nothing to do with the text. Schevill believes that the author composed
them years before and simply inserted them in the Don Quixote.

303. This follows the reading of the first edition: "ha de estimar mt presteza
0 ligereza later editions have " desestimar " (Ormsby: "will think ill of my
pliancy or lightness"). As will be seen, "estimar " makes sense.

304. Two proverbs.

305. Reading of the early editions is " rendimos modern editions have "de
rendiros "--"of overcoming you." As Schevill points out, the reference well
may be to both Camila and Leonela.

306. The "four S's" were Sabio (knowing); Solo (single-hearted); Solicito
(diligent); Segreto (secret). It goes without saying that this "alphabet"
cannot be rendered with anything more than an approach to literalness.

307. The first edition has " mas leaT "most loyal"; later ones have "mas des-
leaP *--"most disloyal."

308. This is the reading of all the earliest editions: "por me hazer testigo
the edition of the Academy (1780) has: "por no hacemie testigo"--"in order
not to bear witness."

309. Reading of the early Spanish editions is " fealdad the edition of Brus-
sels and certain modern ones have " falsedad "--"conjugal faithlessness."

310. First edition reads "no podia abera Lotario edition of Brussels: "no
podia herir"--"could not wound."



CHAPTER XXXV



311. The first edition reads "tambien la he amiplido"; the emendation of Pelli-
cer and later editors, "tan bien," has been followed here.

312. "Ciertos son los toros"--allusion to the sport of bull-fighting. Ormsby has:
"There's no doubt about the bulls," and explains the saying as "expressive prob-
ably of popular anxiety on the eve of a bull-fight." Motteux and Jarvis have:
"Here are the bulls," Lockhart's explanation being: "In allusion to the joy
of the mob in Spain when they see the bulls coming." In connection with the
battle of the wineskins, Lockhart draws attention to the well-known story in
Apuleius's The Golden Ass.

313. The cuartillo was one fourth of a real.

314. The cuarto was a coin worth four maravedis.

315. The text of the first two editions is confused at this point: "qualificada
no de con sus amores " which does not make sense.' As Schevill notes, some-
thing apparently has been inadvertently dropped. It has seemed best to follow a
later emendation: "calificada en sus amores " (third edition), or "cualificada
con sus amores" (edition of Brussels).

316. A later edition has the reading: "perceived clearly enough by the mor-
tal symptoms that he felt . . ."

317. Odet de Foix, Sieur de Lautrec, was Marshal of France under Francis I.
On the Great Captain, see Chapter xxxii, note 1. Reference here apparently
is to the battle of Cerignola (1503) in which the Spaniards won a victory over
the French that resulted in the loss to Louis XII of the kingdom of Naples.



CHAPTER XXXVI



318. The fashion of riding known as "a la jineta," in which the stirrups are high
and the horseman is compelled to bend his legs.

319. The original has "la firtna que hiziste"; but Ormsby notes: "Don Fernando
did not sign any paper, but gave Dorothea a ring"; he translates: "the pledge
which thou didst give me."



CHAPTER XXXVII



320. The arroba was equivalent to 4.26 gallons; the amount of spilled wine rep-
resented here is, accordingly, about twenty-five and a half gallons.

321. The words "said the curate" are supplied by the edition of Brussels.

322. Proverbial expression.

323. The first two editions have: "vuestro . . . inuenerable braco"--"your un-
venerable arm." The third edition and the edition of Brussels read: "inuencible"
--"invincible," and the Academy edition accepts this emendation. Hartzenbusch
and Rodriguez Marin would read: "inuulnerable"--"invulnerable." This last appears
to be the most logical reading, although Schcvill thinks the "unvcncrable" may not
have been an error but a witticism on Dorotca's part, which seems unlikely in
view of the serious tone that she consistently maintains in addressing Don
Quixote.

324. A proverb.

325. In referring to the "captive," the author is running ahead of the story.

326. "Macange " (ma-kan-shi) is an emphatic negative in popular Arabic.

327. "Letrado": reference here, in particular, to the student of jurisprudence.

328. Luke 2:14.

329. Luke 10:5.

330. John 14:27.

331. That is, going to the monasteries where soup was given out to the poor.

332. Syrtis was the name given by the ancients to sandbars in the sea, espe-
cially off the northern coast of Africa.




CHAPTER XXXVIII



333. Schevill observes that "this discussion of the subject of arms and letters
has its roots in the ancient literature and comes to be a commonplace with au-
thors of the sixteenth century." (Translated from the Spanish note.) Among
other works, the reader may be referred to Castiglione's The Courtier.

334. Motteux appears to have the sense here when he translates "cither by hook
or by crook" Clemendn gives the meaning as "in one way or another." Ormsby
says: "Another explanation is that by skirts ( faldas ) regular salary is
meant, and by sleeves ( mangas ) douceurs, perquisites, and the like."

335. It may be of interest to compare Rabelais' treatment of this theme in his
Gargantua. The Chevalier Bayard stood for the type of chivalry or knighthood
to which the introduction of artillery put an end.



CHAPTER XXXIX



336. Schevill points out that this tale of the father sending his three sons out
into the world to choose their careers is a common one in the folk literature of
Europe. To each the father gives good advice and his blessing and sometimes a
talisman to guard him against harm. "It is possible that Cervantes, influenced by
the proverb, ‘Church or sea or Royal Household,' took the formula of the
father and his three sons and found in the saying an indication of what the
careers were to be." (From the Spanish note.)

337. This proverb is found in Lope de Vega; a variant reads: "Three things
cause a man to prosper: learning and the sea and the royal household."

338. The Duke arrived at Brussels on August 22, 1567, with ten thousand
men.

339. Cervantes had served in Diego de Urbina's company. See J. Fitzmaurice-
Kelly, Miguel de Cervantes Saavedra (London: Chapman and Hall, 1917),
pp. 42 ff.

340. Schevill notes that it is possible Cervantes entered this port on Septem-
ber 2, 1571.

341. The campaign of Lepanto in which Cervantes took part. The battle of Le-
panto occurred on October 7, 1571. Compare the allusion in the Prologue to
Part II.

342. Proper form: Aluch Ali.

343. Giovanni Andrea Doria (died in 1606), nephew of the great Andrea Doria,
Genoese naval commander.

344. Motteux has: "in the flag-galley The Three Beacons n ; but the " capitana
de los tres fanales" refers to the three lanterns that were the sign of the ad-
miral's ship.

345. Fort at the entrance to the lagoon of Tunis.

346. The vara is a variable measure, equal to about 2.8 feet.

347. Pedro de Aguilar's Memoirs were published at Madrid in 1875.



CHAPTER XL



348. Nickname of Jacome Palearo, who served under Charles V and Philip II.

349. Schevill: Cervantes here may possibly be alluding to the sovereigns who
from 1360 to 1603 occupied the Turkish throne: Murad, Bayazid, Mohammed,
and Selim or Suleiman.

350. The reference should be to Hassan Pacha.

351. Ormsby: "The story of the captive, it is needless to say, is not the story
of Cervantes himself, but it is colored throughout by his own experiences, and
he himself speaks in the person of the captive."

352. The author is referring to himself. The story of Cervantes' captivity is told
in the work by Diego de Haedo, Topography and General History of Algiers, etc.,
published at Valladolid in 1612.

353. The ciani was worth a little more than six pesetas.

354. The term means "salaam," or form of worship.

355. South gate of Algiers.

356. A Tagarino was a Moor who lived among Christians. See the chapter following.



CHAPTER XLI



357. Motteux has: "to the eastward of Algiers towards Oran"; but Oran is west of
Algiers. Ormsby has: "twenty leagues from Algiers." The original is: " treynta
leguas"--1 "thirty leagues."

358. It was Amaut Mami who captured the ship on which Cervantes and his brother
were returning to Spain.

359. The dobla was a gold coin worth around ten pesetas. It is not to be con-
fused with the dobldn, or doubloon, worth twice as much. Ormsby has: "ten
thousand doubloons."

360. The original is: "de ricas perlas y aljofar the aljofar being a small pearl
of irregular shape. Ormsby has: "rich pearls and seed-pearls."

361. The soltani was a Turkish coin equivalent to about nine pesetas.

362. The first edition has the form " Amexi ?" Schevill believes this was
what the author wrote, and adds: "It is not likely that Cervantes wrote such
words correctly, and I do not care to emend the copy." (From the Spanish
note.)

363. Which means, "Go, Christian, go!"

364. Literally, the wind from the other side of the mountains (the Alps); gen-
erally equivalent to north wind.

365. "La Cava" is the name given in ballads to Florinda, daughter of Count
Julian (see Chapter xxvn preceding, note 4), who is said to have been se-
duced by King Rodrigo. Ormsby: "Cervantes gives the popular name by which
the spot is known. Properly, it is 4 Kuba Rumia ‘the Christian's tomb';
that being the name given to the curious circular structure about which
there has been so much discussion among French archaeologists."

366. I have followed Ormsby here as his rendering appears to be the only
possible one for the nautical terms involved.



CHAPTER XLII



367. In the present chapter this person is sometimes referred to as "the cap-
tain," at other times as "the captive."

368. Here, as before, "letters" refers to jurisprudence.

369. The Audiencia.

370. The author apparently forgets that most of them had previously had sup-
per.

371. See the Prologue to Part I, note 6.

372. A play on the word for "judge": "oidor," literally, "hearer."

373. If the curate did not know whether they had reached Spain or not, how
could he have known of the attack by the French pirates--

374. Rodriguez Marin would alter the punctuation here to make this passage
read: "my father still lives dying, with the desire," etc. Schevill rejects this
emendation.



CHAPTER XLIII



375. Palinurus was the pilot of Aeneas: ". . . surgit Pal'murus, et . . . sidera
cuncta notat tacit o labentia caclo see the Aeneid, 111, 513-515.

376. In the original, this ballad has double assonant rhymes in the second
and fourth lines of each stanza; no imitation of this has been attempted here.
Ormsby docs attempt it and the result is an interesting version.

377. There is a play here in the word "lugar," which sometimes means "place"
and sometimes "town" or "village." Compare below: "lord of hearts and towns."

378. This ballad is said to have been set to music by Don Salvadore Luis, in
1591, fourteen years before the Don Quixote appeared; Schevill cites in this
connection the four-volume History of Spanish Music by M. Soriano Fucrtcs,
published in 1855-59.

379. Allusion to Diana; sec Vergil's Aeneid, iv, 511: "Tria virginis ora Di-
anac."

380. The reference is to Daphne. Schevill notes the frequency of this allusion
in Cervantes; see his Ovid and the Renaissance in Spain (Berkeley: University
of California Press, 1913), p. 184. Compare Pliny's Natural History, iv, 8.

381. The Spanish verb here--"cecear"--is untranslatable; it literally means the
sort of sound that Andalusians make in pronouncing the sibilant ce.

382. Lirgandeo was the tutor and chronicler of rhe Knight of the Sun. Alquife
was the chronicler of the Knight of the Flaming Sword, Amadis of Greece. For
Urganda, see the prefatory verses, note.

383. An inconsistency has been seen here, since if Don Quixote had been tied
as tightly as we were told, how could his feet have come so near the ground--
As Ormsby observes, the simple explanation is that "Cervantes never gave
a thought to the matter."



CHAPTER XLIV



384. Reading of the first edition; other editions have Mambrino.



CHAPTER XLV



385. The first three editions have "sobrebarbero " which, it has been suggest-
ed, may possibly mean "supemumerary barber." Certain modern editions have
"pobre barbero or "poor barber" the reading that has been adopted here. The
edition of Brussels has "dixo el barbero burlado"--"said the barber who was
being made sport of."

386. A proverb: "Laws go as kings like."

387. Agramante and King Sobrino are personages in Ariosto's Orlando Furi-
oso. For the incident referred to here, see Cantos xiv and xxvii.



CHAPTER XLVI



388. Pellicer's reading has been followed here: "no se le passo por alto"
in place of that of the first and second editions: "se le pago por alto"

389. "Aside from the mention of the ‘trappings' of the ass (Chapter xlii)
and of tne ‘halter' and the ‘packsaddle' (Chapter xuv), this is the
first allusion since the beast was found to the existence of Sancho's
gray; from which I am inclined to think that the account of the finding
of it was interpolated hastily and inopportunely in Chapter xxx, thus
leaving nfteen chapters in which no mention whatever is made of its pres-
ence." (From Schevill's Spanish note.)

390. Augustus Caesar--tne Augustan Age.

391. I follow here the first edition reading, "una senora ." Schevill is
inclined to adopt the emendation of the edition of Brussels, "vuestra
senoria"--"your Ladyship."

392. A proverb.

393. A proverb.

394. The early editions all have "leon manchado"--"spotted lion"; but later
editors have adopted the reading "manchego"--"Manchegan," or "of La
Mancha."

395. From "mentir"--"to lie."



CHAPTER XLVII



396. The chapter heading in the original is not quite accurate. Ormsby: "Of
the Strange Manner in Which Don Quixote of La Mancha Was Carried Away En-
chanted."

397. It was considered an utter disgrace for a knight to ride in such a vehicle,
Schevill draws attention to a similar incident in the French nouvelle of the
fifteenth century, Lancelot du Lap.


398. Motteux substitutes "orthodox" for "Catholic."

399. We have previously been told (Chapter xlv preceding) that the officers
were three in number.

400. In Covarrubias's Tesoro de la lengua castellana (cited by Schevill) it is
stated that Zoroaster, "King of the Bactrians, was the first inventor of the
magic art."

401. Allusion to Cervantes' own work, of course; the third of the Exemplary
Novels, published (later) in 1613.

402. The work referred to is the Suma de las Sumulas, a treatise on logic by the
theologian Gaspar Carillo de Villalpando, published at Alcala in 1557.

403. The gymnosophists were Hindu philosophers who led a hermit existence,
practiced mysticism and asceticism, and wore little clothing. Alexan-
der the Great found them in India upon his arrival there.

404. A proverb.

405. Proverbial expression.

406. A proverb.

407. A proverb.

408. The aesthetic ideas expressed by Cervantes here were more or less cur-
rent in his day. See J. C. Dunlop, History of Prose Fiction (London, 1906;
first edition, 1888), Vol. I, pp. 10 ff.; on Cervantes, see Vol. II, pp.
313-23.

409. Prester John was a legendary Christian priest and king who in the
Middle Ages and early Renaissance was believed to reign over a country
in the Far East, his realm being later identified with Abyssinia. He
is mentioned in Rabelais and other sixteenth-century writers.

410. The original reads "quanto tiene mas de lo dudoso y possible"--literally,
"the more it contains of the doubtful and the possible," the word "doubtful"
being here understood in the sense of "probable." But Schevill points out that
Cervantes does not elsewhere employ "dudoso" in this sense. It accordingly
seems best to adopt Hartzenbusclvs emendation: "gustoso"--"pleasing." The
"dudoso" was probably a typesetter's error.

411. Sinon was the Greek soldier who persuaded the Trojans to drag the
wooden horse into their city.

412. Euryalus, in Vergil's Aeneid, was the faithful friend of Nisus.

413. Zopyrus was a Persian nobleman who mutilated himself and thereby
helped to conquer Babylon; a celebrated general or Darius Hystaspis, he is
mentioned in Herodotus (hi, 153) and Justin us (1, 10 ff.).

414. The original has "varios y hermosos lazos"--literally, "variegated and
beautiful knots"; but the reading of modem editions, "lizos"--"threads,"
seems preferable.



CHAPTER XLVIII



415. The original reads "puesto que esmejor ser loado de los pocos sabios que
burlado de los rnuchos necios"--literally, "better to be praised by the dis-
cerning few than scoffed at by the unknowing many." The word "burlado"
has given commentators and translators some little trouble, since it does
not appear to make sense. Hartzenbusch suggests substituting "vitoreado"--
"acclaimed." Ormsby reads "alabado " and translates "better to be praised
by the wise few than applauded by the foolish many." But the translation
given above will perhaps solve the difficulty.

416. The original has "sastre del cantillo," which is meaningless. El Cam-
pillo was the name of a number of places in Spain. The proverb ran: "El
sastre del Campillo, que cosia de balde y ponia el hilo"--"The Tailor of
El Campillo" who threaded his needle and stitched for nothing." There were
other versions, such as "The Tailor of the crossroads," etc. "The Tailor of
El Campillo" was the title of plays by Belmonte and Candamo and of a
novela by Santos.

417. The third edition has "autores"--"authors."

418. The edition of Brussels has "actor."

419. These plays are by Lupercio Leonardo de Argensola. See Otis Howard
Green's The Life and Works of Lupercio Leonardo de Argensola (Philadel-
phia. University of Pennsylvania Press, ?927).

420. Ingratitude Avenged (La Ingratitud Vengada) is by Lope de Vega; the
Numantia (Numancia) is Cervantes' own piece; The Merchant Lover (El
Mercader Amante) is the work of Gaspar Aguilar; and The Fair and Favoring
Enemy (La Enemiga Favorable) is from the pen of Francisco Agustm Tarrega.

421. What Cicero said was: "Comoedia est imitatio vitae, speculum consuetudi-
nis, imago veritatis"--"Comedy is an imitation of life, a mirror of manners,
and an image of the truth." The words are quoted by Lope de Vega in his New
Art of Making Comedies (Arte Nuevo de Hacer Cotnedias).

422. "Apariencia."

423. There has been considerable discussion as to whom Cervantes meant by
these "foreigners." Literary historians will tell us that the theater in
both France and Italy at this time was in a state of decadence, and as
Ormsby remarks, the English certainly did not "scrupulously observe"
the rules of comedy. Schevill believes that the author, carried away
by his desire to criticize the type of comedy produced in Spain, may
have been thinking, rather, of certain poetic manuals and treatises
such as were commonly discussed (possibly years before) by those as-
sociated with the playhouse.

424. The author referred to is Lope de Vega. This chapter had a good deal to
do with the bitter feeling against Cervantes on the part of Lope and his fol-
lowers. Lope himself, however, in his New Art of Making Comedies, gives ex-
pression to practically the same cynical views that are here under attack. Later,
in the second act of his play, The Fortunate Procurer (El Rufian Dichoso),
Cervantes recanted the opinions set forth in this passage.

425. This proposal is characterized by Professor Schevill as a "reactionary
doctrine" which would have rendered impossible the creation of a national and
popular theater, and the same commentator further describes it as a "feeble im-
itation" of Plato's views as expounded in the seventh book of The Republic.
Plato wrote: "The magistrate will appoint censors to judge the compositions
[of the poetl and see to it that they do not stray from the eternal types or laws
of the beautiful, but shall tend to preserve the power and prestige of consti-
tuted authority, of tradition, and of ancient customs, in songs, games, cere-
monies, sacrifices, spectacles, and all that pertains to the giving of pleasure.
Otherwise, the citizens will readily fall in with dangerous novelties of a more
serious nature." Plato was frequently cited in the Renaissance by those who
favored a censorship. "These pages of Don Quixote," says Schevill, "lead us
to believe that Cervantes, regarding the novelties of the school of Lope as dan-
gerous, had to take refuge in Plato's doctrine of censorship, applying it to
comedy in such a manner that only those pieces of which the author of Don
Quixote approved would be performed." (From the Spanish note.)

426. The Spanish is "hazer aguas menores o mayores." "Major or minor" is
a common American euphemism and seems appropriate here.



CHAPTER XLIX



427. Viriatus, celebrated leader of the Lusitanians in the war against the Ro-
mans, is mentioned by Livy and other historians.

428. Don Manuel Ponce de Leon, knight of the time of Ferdinand and Isabella,
whose name occurs in ballads relating to the siege of Granada, is the hero
who figures in the incident of the glove in Schiller's poem, "Der Handschuh";
compare Leigh Hunt's "The Glove and the Lions'^ and Browning's "The Glove."
He is mentioned again in Part II, Chapter xvii. Count Feman Gonzalez was a
tenth-century knight of Castile. On Gonzalo Hernandez (Fernandez) and Diego
Garcia de Paredes, see Chapter xxxii preceding and note 1. Garci P£rez de
Vargas is another ballad hero, but it would appear that the author is refer-
ring to Diego Perez de Vargas, known as "the Pounder" (see Chapter vm pre-
ceding and note 1). Garcilaso was a famous soldier of Ferdinand and Isabella.

429. The Princess Floripes was the sister of Fierabrds and wife of Guy of
Burgundy, Charlemagne's nephew. The bridge of Mantible was defended by a
huge giant, Galafre, supported by Turks, and was taken by Charlemagne
with the aid of Fierabrds. The incident is related in the Charlemagne
chronicle.

430. Guarino Mesquino was the hero of an Italian romance of the Charlemagne
cycle which had been translated into Spanish.

431. Queen Guinevere's waiting woman; see Chapter xvi preceding.

432. The story of Pierres and Magalona is a twelfth-century Provencal romance
by Bernardo Treviez which had been translated into Spanish. Babieca was the
Cid's steed. On Roncesvalles, see Chapter vi preceding and note 12.

433. Juan de Merlo (Melo) was a fifteenth-century knight of Portuguese
descent, born in Castile in the reign of John II. At the tournament of
Arras, held under the auspices of Philip, Duke of Burgundy, he overthrew
Pierre de Brecemont, Sieur de Charny, and at Basle he vanquished the
famous German knight, Heinrich von Rabenstein (Henri de Remestan). The
original has "Mosen Pierres " and "Mosen Enrique de Remestan the "Mosen"
(rendered as "Monsieur") being a shortened form of " 7 / 7/0 senor y n
my lord, and a common Aragonian prefix corresponding to the Castilian
"Don."

434. Allusion to a tournament held at St. Omer in Burgundy, in 1435, at
which Gutierre Quijada, Lord of Villagracia, jousted with Pierre, Sieur de
Haburdin, natural son of the Comte de St. Paul. Barba was Quijada's friend
who was prevented by illness from taking pan in the tourney. The stories in
this passage were possibly taken by Cervantes from the Chronicle of King
John 11. (Schcvill)

435. Another knight of the reign of John II.

436. Suero de Quinones was one of ten knights who in 1434 undertook to
hold the bridge of Orbiga, near Astorga, against all comers for thirty
days, a feat of great renown in the later Middle Ages and one that came
to be known as the u Paso Honroso or "Passage of Honor."

437. These knights, also, are mentioned in the Chronicle of King John 11.
Louis de Faux was a knight of Navarre.

438. On Turpin, see Chapter vi preceding and note 8.

439. The title "Knight of the Twelve Peers" mentioned here is an imaginary
one.

440. See Chapter vi preceding and note 12.



CHAPTER L



441. At this point the third edition has an inserted passage for which there is
no authority.

442. The promised land of squires; see Chapter x and note 5.

443. Expression used by gamblers.



CHAPTER LI



444. The original has "Garcia y Luna," apparently an erratum. Hartzenbusch's
emendation has been adopted.



CHAPTER LII



445. Previously we were told that they were armed with muskets.

446. With which they were flagellating themselves.

447. This speech of Sancho's seems somewhat out of character--for ex-
ample, the reference to "the Alexanders"--but it is to be presumed that by
this time he has picked up some of his
master's phraseology as well as ideas.

448. A proverb.

449. Don Quixote's village, "the name of which I have no desire to recall."
(See Chapter 1, note 1.)

450. The sense of the word is manikin, a puppet or ridiculous figure (compare
the modern Spanish " monigote from " ntonachus "a monk").

451. The name signifies a parasite or hanger-on.


452. The meaning is whimsical, crotchety.

453. This "sonnet," it will be noted, is of seventeen lines, the rhyme scheme erf
the sestet and final tercet being cdccdceff.

454. This is the reading of the original --" trono n ; the second and third editions
and the edition of Brussels have "trowco"--literally, "trunk," which Hartzenbusch
rejects, but which may have reference to a "trophy" instead of a "throne."

455. In the Orlando Furioso, Brigliador was Orlando's horse and Baiardo was Rin-
aldo's.

456. The name means jester.

457. Signifying hobgoblin.

458. In this and the following piece the rhyme scheme, in place of the one fol-
lowed here, is abbaabba.

459. The name is onomatopoeic.

460. This line from the Orlando Furioso (xxx, 16) is wrongly given in the
first edition: " Forsi altro cant era con jniglior plectio ." This is the end of
the original Part IV.