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Published online by Cambridge University Press: 20 November 2018
1 La originalidad artistica de La Celestina (Buenos Aires, 1962).
2 During his discussion of the rufián character, Barrick claims that he made his appearance for the first time in the person of Centurio in the 1502 edition of the Celestina. While Centurio undoubtedly appeared in the lost edition of the Tragicomedia, possibly as early as 1500, the date 1502 for the Seville edition is now very much in question. (See Norton, F.J., Printing in Spain 1501-1520 [Cambridge, 1966], particularly pp. 150–151.Google Scholar)
3 See Criado de Val, Manuel, De la Edad Media al Sigh de Oro (Madrid, 1965), p. 78 Google Scholar, and Barrick, Mac E., ‘Sancho's Trip to El Toboso: A Possible Source,’ MLN, 81 (1966), 222–225.CrossRefGoogle Scholar
4 Only very minor misprints came to the attention of this reviewer in the Notes to the Text: In n. 192, p. 433, ‘a sa’ should be ‘as a’; in n. 311, p. 448, ‘the Chasca’ should read ‘de Chasca’; in n. 596, p. 481, the word ‘südlichen’ is misspelled; likewise ‘Altspanisches’ should read ‘Altspanische’ in n. 636, p. 487, and on the same page the surname ‘Kieckers’ probably should have been separated according to the rules that govern German syllabification.
5 Guía de nuevos temas de literatura española, transcrita, editada y cotejada por D. W. McPheeters (New York: The Hispanic Society of America, 1973), p. 149.