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Lope de Vega as a Courtly Writer: La Filomena (1621) and La Circe (1624)
Titre du projet
Lope de Vega as a Courtly Writer: La Filomena (1621) and La Circe (1624)
Description
This project investigates how Lope de Vega adapted his literary style and career after Philip IV became king of Spain and the cultista revolution consolidated itself. This style can be best observed in the two books that Lope prepared for the beginning of Philip’s reign, La Filomena (1621) and La Circe (1624), and that will be the corpus for our work. While critics have examined them separately, or considered some of their individual parts, our project will study them as a concerted effort, as the books themselves invite to do through a series of cross-references and common interests. When analyzed as an ensemble, the two books reveal themselves as the keystones of an ambitious project: a proposal for a courtly style distinctive from the cultista poetry that was in vogue at the moment. In particular, we argue that in La Filomena and La Circe Lope sought a new sort of courtly elegance and distinction based on four aspects, some of which partly coincided with the current Gongoresque fashion [Cossío, 1952: 340] and some that self-consciously departed from it. In particular, we will show that Lope created a new courtly style by combining four features that were meant to give the books an air of exclusivity and courtliness
Chercheur principal
Statut
Completed
Date de début
1 Septembre 2017
Date de fin
31 Janvier 2020
Organisations
Identifiant interne
35954
identifiant
11 Résultats
Voici les éléments 1 - 10 sur 11
- PublicationAccès libreEl jardín áureo: historia, arte, poesíaMonographic issue of Creneida on gardens in Golden Age Spanish art and literature.
- PublicationAccès librePoética y política de la maravilla: las maravillas del mundo antiguo en Lope de Vega(2022-8-11)This article studies the presence of the Seven Wonders of the Ancient World in the works of Lope de Vega, an author who was particularly fond of the topic and skillful in its usage. Our article examines the appearance of the list from the end of the sixteenth century to 1634, and proposes some reasons for Lope's love for this topic. We explain which is the state of the art on the subject before focusing on Lope’s lyrical poetry. In particular, we begin examining Rimas (1604), a book in which Lope included two sonnets on the wonders. These poems have a peculiar dispositio which we consider the structural basis of Lope’s take on the wonders. Next, we study two small appearances in La Filomena (1621) and La Circe (1624), and, finally, a burlesque variant of this structure in Rimas de Tomé de Burguillos (1634), in a poem which allows us to propose a hypothesis concerning the origin of Lope’s idea. Taking this information into consideration, we examine Lope’s theater, which we divide into two large stages separated by 1609, the year in which Lope published Jerusalén conquistada and must have written La octava maravilla. These stages are useful to analyze the Seven Wonders in the corpus, to examine the evolution of that motif, and to reflect on its connections with the panegyric and with Lope's professional interests.
- PublicationAccès libreLope de Vega y la poesía de jardines: naturaleza y arte en la “Descripción de la Tapada” (La Filomena, 1621)(2021-12-31)This paper examines Lope de Vega’s “Descripción de La Tapada” (La Filomena, 1621) in the context of the writer’s villa poems, and studies the meaning of its similarities and differences with its closest text: the “Descripción del Abadía”. After examining the critics opinions on the text, and showing that it is the least studied of Lope’s poems on gardens, we analyze the poem’s structure and topics, which we will use as a basis to study its genre and its function in La Filomena and in Lope’s literary career. These questions, in turn, will help us understand the peculiar relationship that art and nature establish in the poem.
- PublicationAccès libreOrfeo, Anfión, Tubal: la música y sus inventores en tres disquisiciones musicales de Lope de Vega (Arcadia, El peregrino en su patria, Pastores de Belén)This article examines Lope de Vega's relationship to music by focusing on three digressions on the origins of music present in Arcadia (1598), El peregrino en su patria (1604), and Pastores de Belén (1612).
- PublicationAccès libreVíboras y partos violentos en Lope de Vega(2021-5-10)This article examines the image of the violent birth of the viper in Calderón and, mostly, in Lope de Vega.
- PublicationAccès libreOrfeo en la poesía cortesana de Lope de Vega (1621-1624)». Janus 10 (2021): 5-38(2021-1-26)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.
- PublicationAccès libre«“Cuando heredó su majestad estos reinos”: el contexto poético de La Filomena»(2020-11-21)Introduction au dossier sur La Filomena
- PublicationAccès libreLa poesía española en la década de 1620: el contexto de «La Filomena» (1621), de Lope de VegaNuméro monographique de la revue Atalanta. Revista de Letras Barrocas
- PublicationAccès libreDescriptio puellae y cultismo en Góngora y Lope de Vega: el palacio como dama, la dama como palacio(2025-01-31)Este trabajo examina unos modismos del tópico de la descriptio puellae en textos de Góngora y Lope. Concretamente, estudia la imagen de la dama como atractivo palacio, que desarrolla un célebre soneto gongorino («De pura honestidad templo sagrado») y varios textos lopescos: el soneto 64 de las Rimas («Yo vi sobre dos piedras plateadas»), unos pasajes de De cosario a cosario (antes de 1619), de El caballero de Olmedo (c. 1621) y, especialmente, de La Circe (1624). Tras repasar algunos elementos del tópico de la descriptio puellae, y en particular las metáforas arquitectónicas, examinamos el soneto gongorino y las fuentes que propone la crítica, a las que sumamos el Cantar de los cantares. A continuación, estudiamos descriptiones puellarum en Lope, tanto las no arquitectónicas como, especialmente, las que sí lo son, y en concreto las que usan la metáfora de la columna: para hablar del cuello de la dama, según el canon petrarquista, o para hablar de sus piernas, según una atrevida pero difundida tradición erótica que recoge el citado soneto de las Rimas. Por último, y en la parte central del trabajo, examinamos estas metáforas en el Lope de senectud, cuya Circe las lleva a un refinamiento que podemos comparar con el gongorino. This paper examines some elements of the descriptio puellae topic in texts by Góngora and Lope. Specifically, we study the image of the lady as an attractive palace, which is developed in a famous sonnet by Góngora («De pura honestidad templo sagrado») and in several texts by Lope: sonnet 64 of the Rimas («Yo vi sobre dos piedras plateadas»), some passages from De cosario a cosario (before 1619), from El caballero de Olmedo (c. 1621) and, especially, from La Circe (1624). After reviewing some elements of the descriptio puellae topic, and in particular the architectural metaphors, we examine the Gongorine sonnet and the sources proposed by the critics, to which we add the Song of Songs. Next, we study descriptiones puellarum in Lope, both architectural and non-architectural, and, among the first, those that use the metaphor of the column: to speak of the lady’s neck, according to the Petrarchan canon, or to speak of her legs, according to a daring but widespread erotic tradition that the aforesaid Rimas sonnet retakes. Finally, and in the central part of the work, we examine these metaphors in late Lope texts, such as La Circe.