All references to the text of Don Quixote, which appear in parentheses, cite from the edition of Luis Andrés Murillo.

Future parenthetical references to the Entremés del Retablo de las maravillas cite by Eugenio Asensio's edition of the Entremeses.

Although identified generically as an entremés, Maravillas is not really «purely» dramatic: since the verbal «staging» of the two tricksters makes up much of its «action», it is just as quintessentially narrative as theatrical.

The Tesoro describes çarabanda as a «bayle alegre y lascivo, porque se haze con meneos del cuerpo descompuestos». Covarrubias gives the sarabande a Roman and Hebrew genealogy: «la palabra çarabanda es hebrea..., vale esparzir o cerner, ventilar, andar a la redonda; todo lo qual tiene la que bayla la çarabanda, que cierne con el cuerpo a una parte y a otra y va rodeando el teatro,... poniendo casi en condición a los que la miran de imitar sus movimientos, y salir a baylar...» (395). Twentieth-century musicologists, with help from Gallardo's Ensayo de una Biblioteca Española de Libros Raros y Curiosos (1888-89), locate the first literary references to the zarabanda in sixteenth-century texts from Panama and Mexico, suggesting that there may be a case for other «other» origins in the New World or even in Africa. See The New Grove Dictionary of Music and Musicians (16: 489) and The New Harvard Dictionary of Music (726). On the role of music, poetry and dance in Maravillas, see my «La poesía y los poetas en los Entremeses de Cervantes».

Portions of this project which have appeared in print are: «El lenguaje de la conquista y la conquista del lenguaje en las poéticas del siglo de oro», «Spain's Renaissance Conquests and the Retroping of Identity», «The True History of Early Modern Writing in Spanish: An American Perspective», and «Don Quixote and the National Citizenship of Masterpieces».

See the recent contributions of Roland Barthes, Michel de Certeau, Gérard Genette, Barbara Herrnstein Smith, and Hayden White to theoretical discussion of the shared territories of history and fiction.

Cf. Riley on the alleged confusion of sixteenth-century readers.

Wardroppper sees Cervantes's game aiming ultimately to make a point that is more metaphysical than historiographical: against the smug certainty of Counterreformation doctrine, the author of Don Quixote stresses the limits that individual, flawed human perspective inevitably places on any search for truth (El Saffar Cervantes 89-90).

It cannot of course be claimed that critics of Cervantes's novel have not devoted serious attention to its engagement with historical events. Vicente Lloréns's essay poses a question whose workings out have occupied a host of distinguished scholars. The particular point I make here is that metafiction in the Quixote has not, as it needs to be, been linked to the texts and contexts of serious historiography. For a recent consideration of the historical dimension of Cervantes's text, see Lezra, chapter 3, «The Matter of Naming in don Quixote».

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On this collective enterprise, see Gaylord, «The True History» and «Spain's Renaissance Conquests».