101
Sabia observación de V. Gaos en su edición de la novela, II, p. 371, nota 172a.
102
En la Primera Parte se da también otra excepción, la del joven Andrés azotado por su amo Juan Haldudo. Hijo Andrés, le dice don Quijote (II, 4).
103
Juan B. Avalle-Arce. Don Quijote como forma de vida, (Madrid: Fundación Juan March/Editorial Castalia), 1976, p. 212-213.
104
Michel Moner en su obra Cervantes: Deux thèmes majeurs (L'amour - Les armes et les lettres), (Université de Toulouse-Le Mirail: France-Iberie Recherche, [p. 111] 1986), p. 110, advierte cuán fuera de lugar está el que don Quijote traiga a colación aquí las letras.
105
Cervantes, desde don Quijote, se contempla a sí mismo joven. «The smuggling in into a work of art the selfportrait of the artist was a favorite trick of Cervantes»
, anota Helmut Hatzfeld. «Artistic Parallels in Cervantes and Velázquez», en Estudios dedicados a Menéndez Pidal, (Madrid: Consejo Superior de Investigaciones Científicas, 1950-1962), p. 283. También Vicente Gaos en su edición del Quijote (Madrid: Gredos), II, p. 367, nota 111a.
106
Speech given at Hofstra University, October 16, 1997.
107
For a response to this response, see «Don Quixote & the 'Third Term' as Solvent of Binary Dualisms: A Response to Howard Mancing», by Henry W. Sullivan, Cervantes 19.1 (1999): 177-97. F. J.
108
Believing first and then consciously unbelieving later (even if only moments later) is the general rule; see the important article by Gilbert.
109
Sometimes scholars who insist that fictional characters are only words (or linguistic signs) and thus fundamentally different from flesh-and-blood human beings criticize those who take a position similar to that of Gerrig, attributing to them the belief that there is no difference between fictional and historical persons or that fictional characters actually are real people. This is the equivalent of saying that someone who talks about her cat as she would a person believes that the cat is a person. This sort of criticism is always either intellectually dishonest or extraordinarily naive.
110
Our construal, or construction, largely by means of narrative, of the (or of «our») reality of other individuals, together with the uncertainty, conjectural nature, imprecision, or fuzziness of this reality, is described, among many others, by: Code, DuPreez, Eiser, Flanagan, Galatzer-Levy and Cohler, Gergen and Davis, Gordon, and Humphrey.