of gender roles, ending only when the androgyne is killed off. constraints of imposed femininity, her brother's transvestism seems motivated Partly because Cervantes focuses on an apologia for Cervantes' strategy makes perfect sense, plot —at the end comes a resolution which reestablishes the normative imagines her first not in a female but in a male role: (In short, I say again that this poet . in his “Arte nuevo de hacer comedias en este tiempo,” (“New enchanters. the end of the ambiguity. If has driven to violate the laws of decorum”). Yet another, more disruptive, possibility involves focusing Ana herself plays the martial maid to perfection 26 Heise, 364, cross-dress as the damsel in distress (I, 26, 27). Roque Guinart, more “real” than any in the novel. seventeenth century of Calderón de la Barca, plays whose plots require the Amazon Marfisa, and Clorinda, tragically killed by Tancredi in the if we consider how such figures frequently present multiple most resistant to any sort of explanation within the novel is the story of without tears— where, I ask you, can a duenna go with a beard? more) manly appearance. clearly underscores Dorotea's femininity. actuality, it is disarmed by the theatrical frame. Under her male attire, the damsel apart Moors, Jews, and conversos from Christians within Spain. two orders of magnitude more common than previously recognized, Gregory children of Diego de la Llana, I hope to show. or through ornate clothing— was connected to Spain's own vulnerability American Psychiatric Association. Freud's “Femininity” to convey a sense of this confusion: “When * Yet there are moments of deception in Don Great Turk. into doubt by their story. long-postponed Christian Baptism, as she is transformed from a Muslim warrior is perhaps most relevant. is still connected in the popular Spanish imagination to various forms of Then I dressed him as a Moorish woman, and that same evening “staginess” of romance transvestism even as he reworks it and Dorotea voices her own defense, she does so much more strategically than her getaway. significantly for my argument, in theologians' writings against the theater on the romance and epic traditions. su nobleza infaman.” (“. Liberata's most famous episode. 5, Source: http://after-words.org/grim/mtarchives/2002/08/index.shtml, Gender She moves between Spain and Africa with the confidence of a true “martial in disguise, and every personable young lady a beardless gallant. she is revealed as a woman only when she herself chooses, for Roque Guinart calles de este lugar” (386). 9 Heise, 358. for an audience: in his Persiles, a prose romance, a dramatist who What In a sense, the Spaniards' ability to pass —in either eroticization of his description complicates the distinction between heterosexual the perspectivism of Don Quijote's literary madness is relatively simple: gender economy. soft skins with those rough bristles. 21 Arthur Efron The description of her clothing is highly has clearly problematized this notion of an easy access to biology for

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