151
A Dictionary of Symbols. Translated from the Spanish by Jack Sage, 2nd ed. (New York: Philosophical Library, 1983), p. 169.
152
A lucid distinction between madness and insanity is made in chapter II, «Ingenium and Wahn» of Weinrich's Das Ingenium Don Quijotes, Ein Beitrag zur literarischen Charakterkunde, (Münster-Westfalen: Aschendorff, 1956), particularly pp. 30, 31, 33-6. It would be inappropriate to bring up out of context Pierre Ullman's different view of Don Quijote's madness, his «chivalric madness», in the episodes under study without a proper discussion of his perceptive and by now classic paper, «An Emblematic Interpretation of Sansón Carrasco's Disguises» (Estudios literarios de hispanistas norteamericanos dedicados a Helmut Hatzfeld con motivo de su 80 aniversario. Compilados y editados por Josep M. Solá-Solé, Alessandro Crisafully, Bruno Damiani [Barcelona: Ediciones Hispam, 1974), pp. 223-38.
153
«Tienen las colores, en el vulgo, sus sinificaciones particulares, que todos las saben, y no ay para qué gastar tiempo en esto» Covarrubias tells us in his Tesoro, p. 339.
154
Cirlot, p. 54.
155
See Gertrude Jobes, Dictionary of Mythology, Folklore and Symbols (New York: The Scarecrow Press, Inc., 1961), p. 1704.
156
He clarifies: «it is the colour of vegetation (or of life, in other words) and of corpses (or of death): hence the Egyptians painted Osiris (the god of vegetation and of the dead) green. Similarly, green takes the middle place in the everyday scale of colours» (p. 56). Jobes reports that green indicates envy and jealousy (p. 357).
157
Jobes, p. 1704. Furthermore, yellow was the color of the «Spanish executioner's robe to denote treason» (Ibid.).
158
Cirlot, p. 58.
159
Covarrubias, under casaca.
160
Cirlot, p. 294.