Résultat de la recherche
Lope de Vega y la geografía universal: las Relaciones universales de Botero en dos epilios de La Filomena
Este trabajo examina las digresiones geográficas en dos epilios de La Filomena (1621) de Lope de Vega, estudiando topónimos y fuentes, y poniendo de relieve concomitancias de forma y fondo con las Relaciones universales de Giovanni Botero. Asimismo, reflexionamos sobre la función de las digresiones geográficas a nivel diegético y extradiegético, en relación con las ambiciones literarias de Lope en 1621. This paper examines the geographical digressions in two epilia in Lope de Vega’s La Filomena (1621), studying toponyms and sources, and highlighting coincidences of form and substance with Giovanni Botero’s Relazioni universali. We also study the function of geographical digressions both diegetically and, above all, extradiegetically and in relation to Lope’s literary ambitions in 1621.
«Formado de varias partes un cuerpo, quise que le sirviese de alma mi buen deseo»: los fragmenta de La Filomena (1621)
Lope de Vega, el tabaco y los cuernos: dos notas sobre polémica y burla en las Rimas de Tomé de Burguillos (1634)». Studia Aurea 15 (2021): 485-498
Abstract: The present article examines two complex passages in Lope de Vega’s Rimas de Tomé de Burguillos, respective and elusive examples of polemics and mock poetry, or, rather, of polemical and non-polemical mock poetry. In the first, included in La Gatomaquia, we study the meaning of a malicious reference to the poet Anastasio Pantaleón de Ribera, already dead in 1634. In the second, sonnet 127 (129 in Carreño’s edition), we show the satirical target of another sarcastic reference, an allusion that gives the poem its burlesque tone, parallel to that of many texts in the book. In order to achieve our objective, we use a textual commentary methodology. After reviewing the critics opinions on the passages in question, and in particular their editors’, we present ours, which illustrate the passages conceptismo by contrasting them with several loci in Lope’s works and in other writers of the time.
«Perfil autorial en los sonetos de La Filomena (1621), de Lope de Vega»
Within Lope de Vega’s extensive sonnet production, the nine sonnets that he included in La Filomena (1621) can be examined to determine what kind of authorial voice they put forward and how it compares to the spirit of «metapoetic cancionero» that the cri- tics propose for the rest of the book. After summarizing secondary literature on Lope’s sonnets and on La Filomena, we analyze the sonnets in our corpus commenting their individual purpose, their common points, and, above all, the kind of authorial voice they build, which we examine focusing on the lyrical voice that enunciates them. This analysis allows us to present La Filomena not only as a “metapoetic cancionero”, but also as a neostoic one whose moral message stems from the sonnets dispositio.
Orfeo en la poesía cortesana de Lope de Vega (1621-1624)». Janus 10 (2021): 5-38
This article examines the importance of Orpheus myth in Lope de Vega’s nondramatic works during the first years of Philip IV’s reign (1621-1624). After reviewing the apparitions of the aforesaid myth in Lope’s previous works, and critics opinions on the subject, we analyze how he uses it in the three works in our corpus: La Filomena (1621), La Circe (1624), and Orfeo en lengua castellana (1624). In particular, we examine the mythological fables, such as «La Filomena», «La Circe», and the Orfeo, to analyze how the myth evolved, and to study the scene of the death of the poet, and its connections with the possible sources: Bustamante’s Ovidian translation, Reusner’s Picta poesis ovidiana, Pérez de Moya’s Philosofía secreta de la gentilidad and Vitoria’s Teatro de los dioses de la gentilidad.
«“Cuando heredó su majestad estos reinos”: el contexto poético de La Filomena»
Introduction au dossier sur La Filomena