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A region outside of Spain ennobled itself through the othering of Spain by making the espagnol both the human Iberian inhabitant and the sign of the animal. As an interesting precedent to Cervantes’ dog dialogue, in 1537 Bonaventure des Périers wrote a dialogue between two dogs. One of the dogs discusses different breeds and he mentions that he has a friend that is a spaniel. He uses the word espagnol (79). Thirteenth-century French iconography and literature had favored a dog called the brachet that sat at the back of its master’s horse, pointed to the game, and retrieved it.

In Boehrer, Animal 80–81). 31 One finds the parrot expression perro moro in Juan del Encina’s early sixteenthcentury “Interlocutory Eclogue” (“Egloga interlocutoria”); a late sixteenth-century poem by Baltasar de Alcázar (190); and the mid-seventeenth-century mojiganga by Vicente Suárez de Deza (qtd. in Borrego Gutiérrez 187–88). Lope de Vega’s play If Women Could Not See (Si no vieran las mujeres) provides another example. A character in the play tells the anecdote of a peasant who listened to a talking parrot carrying on an animated conversation with a lady at the window.

28 The canine also haunted the ground of the name of the new American territory since, for Europeans, La Española resonated with a gendering of the New World and also with the canine because the new name for the Spanish island also meant “Spanish bitch,” the same European word for a female Spanish dog. Neither Columbus nor the Spanish people consciously thought of the canine version of hispaniola (female spaniel) in naming the new space. The dog, however, was present in the semantic connotations of the name.

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