Abstract
The treatment of the lovers’ psychology in Gil Polo's Diana shows a degree of realism remarkable in a pastoral novel, which contrasts strikingly with the arbitrary magical devices in Montemayor's Los siete libros de la Diana, of which Gil Polo is, ostensibly, writing the continuation. It is all the more surprising, therefore, that this point should have remained unperceived for so long, and Menendez y Pelayo's assertion unchallenged that “el agua de la sabia Felicia completa el remedio, no solo de Diana y Sireno, sino de todos los demas personajes”.
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