A. Solé-Leris, «The Theory of Love in the Two Dianas: A Contrast», BHS 36 (1959), 65-79. It might be argued, moreover, that in addition to emphasis on reason and free will, the Diana enamorada does not categorically favor the contemplative life. In the ending, Diana sets out in search of Sireno. R. G. Keightly terms this a «resolution through action» in his study «Narrative Perspectives in Spanish Pastoral Fiction», AUMLA 44 (1975), 213.

While this contrasts with the «escapist» pastoral ideal found in Montemayor, it is much closer to the mainstream of sixteenth-century religious thought in Spain both before and after the Counter Reformation. See Otis H. Green, Spain and the Western Tradition, III (Madison: University of Wisconsin Press, 1965), 228-49.

For example, only moments later, Lauso's song, sung by Damón, praises pastoral life over life in the court only to conclude that it is but a «pequeña sombra» of the original glory it recalls. It is the «humana suerte» that time quickly converts all worldly pleasures into «mortal disgusto»; by implication pastoral otium is included (II, 35-40).

Smith, pp. 293-301.

The passage reads: «Y la industria de sus moradores ha hecho tanto, que la naturaleza, encorporada con el arte, es hecha artífice y connatural del arte, y de entrambas a dos se ha hecho una tercia naturaleza, a la cual no sabré dar nombre» (II, 170). My interpretation agrees with Casalduero's, p. 44. The opposite view, that Cervantes gives Nature the active role, is held, for example, by Avalle-Arce, La novela pastoril, p. 243, and Alban Forcione, Cervantes, Aristotle, and the «Persiles», p. 221. Both stress Nature's role as «artífice» but overlook Cervantes' greater emphasis on the «industria» of the inhabitants. This reading is inconsistent with the rest of the thematic context.

The theme is a commonplace in Renaissance literature. It is the subject of section i, 3, of Erasmus' Handbook for the Militant Christian. It also appears in Juan Luis Vives, Fray Luis de Granada, and others; cf. Green, III, 240-41.

Francisco López Estrada identifies parallel passages and concepts taken from Pietro Bembo, Mario Equicola, and León Hebreo in La «Galatea» de Cervantes, (Tenerife: Univ. de la Laguna de Tenerife, 1948), pp. 89-95, and 110-14. See also his article, «La influencia italiana..»., 162-66. Otis Green stresses the «completely Christian» quality of Cervantes' neo-Platonism in La Galatea, in Spain and the Western Tradition, I (1963), 185-94. Cf. Elicio's remark to Erastro: «esta es la última y mayor perfección que en el amor divino se encierra, y en el humano también, cuando no se quiere más de por ser bueno lo que se ama» (I, 201), and Avalle's comment on the passage, p. xxii.

Tirsi specifically lists «templanza», «fortaleza», «justicia», and «prudencia» (II, 62). Faith and hope, the two remaining virtues, figure constantly in the shepherds' songs about love.

Cf. Avalle's notes, Galatea, II, 190-98.

Leslie Deutsch Johnson rightly asserts that in the Canto de Calíope Cervantes vitalizes «the old theme of arms and letters» and that this points to the shepherds' decision to use force at the end of the story, in «Three Who Made a Revolution: Cervantes, Galatea and Caliope», Hispano 57 (1976), 31-32.