See Francisco Márquez Villanueva, «El Caballero del Verde Gabán», p. 169. (N. from the A.)

As one may infer from the religiously orthodox, Epicurean lexicon of Don Quixote's question (see ibid., p. 172), the knight is well aware of the kind of archetypal self-portrait that Don Diego is attempting to convey (II, 16; 154):

Preguntóle don Quijote que cuántos hijos tenía, y díjole que una de las cosas en que ponían el sumo bien los antiguos filósofos, que carecieron del verdadero conocimiento de Dios, fue en los bienes de la naturaleza, en los de la fortuna, en tener muchos amigos y en tener muchos y buenos hijos.

(N. from the A.)

For a classical, Aristotelian and Thomistic summary of the virtue of fortitude, see Josef Pieper, The Cardinal Virtues, pp. 114-141. (N. from the A.)

«El Caballero del Verde Gabán», pp. 219-223. (N. from the A.)

Ibid., p. 220. (N. from the A.)

«Diego de Miranda, "Bufón" or Spanish Gentleman? The Social Background of His Attire», Cervantes 5 (1985), pp. 129-140. (N. from the A.)

As Márquez Villanueva himself argues («El Caballero del Verde Gabán», pp. 224-226), Don Diego embodies Cervantes' version of an Erasmian cuerdo loco paradox. For this reason, I find it perplexing that he should insist on a univocal interpretation (favoring folly and madness) of the character's clothing. The same scholar again takes up the subject of Don Diego's attire in «La locura emblemática en la segunda parte del Quijote», Cervantes and the Renaissance, Michael McGaha, ed. (Newark, DE: Juan de la Cuesta, 1980), pp. 92-96, insisting on the same unproblematic, univocal interpretation of the character's appearance. In this article, Márquez Villanueva states more than once that the «verde» of the character's «gabán», and not just the general tone of his appearance, is «chillón», an assertion for which there is no textual evidence. Presumably this scholar means to imply that green, as such, is intended to be seen as a «loud» color. (N. from the A.)

I borrow this term from James Parr, "Don Quixote": An Anatomy of Subversive Discourse, p. 10 and passim. (N. from the A.)

See V. A. Chamberlain and Jack Weiner, «Color Symbolism: A Key to a Possible New Interpretation of Cervantes' Caballero del Verde Gabán», Romance Notes, X (1969), pp. 1-6, cited in Francisco Márquez Villanueva, «El Caballero del Verde Gabán», pp. 150-151, n. 4. (N. from the A.)

See Helena Percas de Ponseti, Cervantes the Writer and Painter of "Don Quijote" (Columbia: University of Missourri Press, 1988), pp. 36-53. In this chapter, Percas de Ponseti makes a distinction between the superficially «impressionistic», and favorable, portrait of Don Diego, for which Cide Hamete is responsible, and the subtly «expressionistic», critical portrait, for which Cervantes is responsible. Indeed, as this scholar suggests, the two portraits overlap. For an earlier study on Don Diego by the same author, see Cervantes y su concepto del arte, v. 2 (Madrid: Gredos, 1975), pp. 332-382. As she argues in both studies, Cervantes' duplicitous portrait aims at contradicting first impressions. As I shall argue presently, his complex portrait also undoes second impressions. (N. from the A.)