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In the context of the different modulations of the Cuckold’s subject on Cervantes’ corpus and with the approval of the relationship between both poets, this work examines the rewriting of Cervantes’ interlude El retablo de las maravillas done by Quiñones de Benavente, and also the version of the theme in Avellaneda’s Los rábanos y la fiesta de toros

Cuernos para todos: <em>El retablo de las maravillas</em> de Cervantes a Quiñones de Benavente