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La galería de bustos de ‘El jardín de Lope de Vega’ (1621)
Maison d'édition
Madrid: Sial
Date de parution
2017
In
La estirpe de Pigmalión: poesía y escultura en el Siglo de Oro
De la page
199
A la page
216
Résumé
Resumen: Este trabajo explora el uso lopesco de la escultura examinando la célebre epístola “El jardín de Lope de Vega” (1621), llamativa por la amplísima colección de bustos y relieves que describe. El análisis del poema sugiere que en “El jardín de Lope de Vega” el Fénix usó la escultura por sus connotaciones cortesanas y aristocráticas, que evocaban una distinción semejante a la que reclamaba para su propia creación poética. Apoyándose en esta conexión ennoblecedora, Lope emplea aquí la escultura como metáfora de poesía (la propia y la de sus enemigos) y como base de su intento de construir un Parnaso de los poetas más destacados del momento. A lo largo del texto, Lope compagina estas dos funciones mediante llamativas dosis de humor e ironía que permiten que operen conjuntamente en la ficción que impulsa la epístola: la descripción del jardín privado del autor.
Abstract: This article explores Lope’s use of sculptural images examining the famous epistle “El jardín de Lope de Vega” (1621), a poem that stands out because of the extensive collection of busts and reliefs it describes. The analysis of the poem suggests that in “El jardín de Lope de Vega” Lope used sculpture for its courtly and aristocratic connotations, which evoked a degree of distinction similar to the one he demanded for his own poetic works. Relying on this ennobling connection, Lope uses sculpture as an image of poetry (his own and his enemies) and as a base on which to build a Parnassus of the most relevant poets of his time. Along the poem, Lope combines those two functions with great doses of humor and irony that allow them to operate in the fiction that triggers the epistle: the poem as description of the poet’s private garden.
Abstract: This article explores Lope’s use of sculptural images examining the famous epistle “El jardín de Lope de Vega” (1621), a poem that stands out because of the extensive collection of busts and reliefs it describes. The analysis of the poem suggests that in “El jardín de Lope de Vega” Lope used sculpture for its courtly and aristocratic connotations, which evoked a degree of distinction similar to the one he demanded for his own poetic works. Relying on this ennobling connection, Lope uses sculpture as an image of poetry (his own and his enemies) and as a base on which to build a Parnassus of the most relevant poets of his time. Along the poem, Lope combines those two functions with great doses of humor and irony that allow them to operate in the fiction that triggers the epistle: the poem as description of the poet’s private garden.
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book part
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