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Spanish Golden Age Poetry in Motion

Spanish Golden Age Poetry in Motion: The Dynamics of Creation and Conversation

Series: Monografías A
Copyright Date: 2014
Edition: NED - New edition
Published by: Boydell and Brewer,
Pages: 272
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    Spanish Golden Age Poetry in Motion
    Book Description:

    The fourteen essays of this volume engage in distinct ways with the matter of motion in early modern Spanish poetics, without limiting the dialectic of stasis and movement to any single sphere or manifestation. Interrogation of the interdependence of tradition and innovation, poetry, power and politics, shifting signifiers, the intersection of topography and deviant temporalities, the movement between the secular and the sacred, tensions between centres and peripheries, issues of manuscript circulation and reception, poetic calls and echoes across continents and centuries, and between creative writing and reading subjects, all demonstrate that Helgerson's central notion of conspicuous movement is relevant beyond early sixteenth-century secular poetics, By opening it up we approximate a better understanding of poetry's flexible spatio-temporal co-ordinates in a period of extraordinary historical circumstances and conterminous radical cultural transformation. Los catorce ensayos de este volumen conectan de una manera perceptible con el tema del movimiento en la poesía española del siglo de oro, sin limitar la dialéctica de la estasis y movimiento a una sola esfera o manifestación única. Entre los multiples enfoques cabe destacar: el cuestionamiento de la interdependencia de la tradición e inovación, de la poesía, del poder y la política, de los significantes que se transforman, de los espacios que conectan y cruzan con los tiempos 'desviados'; análisis de las tensiones entre lo sagrado y lo secular, del conflicto centro-periferia y del complejo sistema de producción, circulación y recepción de los manuscritos; el diálogo con el eco poético a través de los siglos y de los continentes y la construcción creativa del sujeto escritor y/o lector. Al abrir la noción central de Helgerson del "movimiento conspicuo" más allá de la poesía nueva secular, este libro propone un entendimiento más completo de las coordinadas espacio-temporales de la poesía en un periodo de circunstancias históricas extrao Jean Andrews is Associate Professor in the Department of Spanish, Portuguese and Latin American Studies, University of Nottingham. Isabel Torres is Professor of Spanish Golden Age Literature at Queen's University, Belfast. Contributors: Jean Andrews, Dana Bultman, Noelia Cirnigliaro, Marsha Collins, Trevor J. Dadson, Aurora Egido, Verónica Grossi, Anne Holloway, Mark J. Mascia,Terence O'Reilly, Carmen Peraita, Amanda Powell, Colin Thompson, Isabel Torres

    eISBN: 978-1-78204-354-6
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-vi)
  3. Contributors
    (pp. vii-viii)
  4. Acknowledgements
    (pp. ix-x)
  5. Introduction
    (pp. 1-8)
    Isabel Torres and Jean Andrews

    Homer knew that poetry is a matter of motion. Once upon a pre-‘theoretical’ time, criticism of poetry inhabited poetry itself. It was inscribed in the self conscious reflections of the early poets on the nature of their art, and in the narratological and metaphorical manoeuvres of their writing. The opening line of theIliadcompresses into a brief invocation to the Muse the essence of poetry as a specialised form of discourse that travels over time and space, while it also points to the authority and accountability that is enshrined in poetic utterance. The narrator invokes the Muse: ‘Sing, goddess,...

  6. 1 La poesía mutante del Siglo de Oro
    (pp. 9-38)
    Aurora Egido

    Para los lectores actuales, ‘Poesía en movimiento’ remite sin duda a la antología de signo vanguardista preparada en 1966 por Octavio Pazy José Emilio Pacheco en la que estos pretendían recoger los poemas de quienes hubieran contribuido a la transformación de la poesía mejicana desde el Modernismo.¹ El asunto no es baladí, si tenemos en cuenta lo que cl Barroco simbolizó, desde su invención, para los modernos, sobre todo a partir de losConceptos Fundamentales de la Historia del Arte(1915) de Heinrich Wölfflin, que lo caracterizó precisamente como búsqueda del movimiento.² El siglo XX asignó además con esa palabra...

  7. 2 Moving in ... Garcilaso de la Vega’s ‘Dulces prendas por mi mal halladas’
    (pp. 41-58)
    Isabel Torres

    If poetry plays to the most volatile and malleable part of our nature, then Plato, the philosopher, played poetry beautifully, and at its own game. The exploratory nature of Plato’s writings, as well as their apparent inconsistencies, are well documented.¹ His contradictory attitude, for instance, to poetry’s relationship to the polity has not only dogged disciplinary discourse in terms of a centuries-long quarrel between philosophy and literature, but has also given rise to a provocative paradigm that connects order within the self to the construction of a utopian state. Individual selfhood is symbolically politicised in this process, while the construction...

  8. 3 The Movement of Thought and Feeling in the ‘Ode to Juan de Grial’
    (pp. 59-72)
    Terence O’ReIlly

    Our understanding of the ‘Ode to Juan de Grial’ has been deepened in recent years by research into the sources on which it draws.¹ In 1979 Fernando Lázaro Carreter showed that the model Fray Luis had foremost in his mind was a neo-Latin poem written in Florence by the humanist Angelo Ambrogini Poliziano (1454–94) to mark the start of the academic year. This Fray Luis adapted, in accordance with the precepts of mixedimitatio, blending into it further elements, both classical (mainly from Horace, Virgil and Ovid) and Italian (Bernardo Tasso), in order to produce a distinctive poem of...

  9. 4 Metaphors of Movement in Two Poems of Fray Luis de León
    (pp. 73-86)
    Colin Thompson

    At the end of his analysis of the ‘Vida retirada’ poem, Ricardo Senabre wrote: ‘Urge […] afrontar el estudio del sistema metafórico de fray Luis.’¹ He was arguing against the predominant biographical interpretation of the poem, in which its search for a life of peaceful contentment was read as the poet’s desire to be free of the disputes and conflicts of Salamanca, and the famous garden ‘por mi mano plantado’ was identified with the Augustinian estate of La Flecha or an other such retreat. He demonstrated persuasively that the classical, biblical and Patristic resonances of many of Fray Luis’s metaphors,...

  10. 5 El tiempo medido en versos: Camila Lucinda en las Rimas (1609) de Lope de Vega
    (pp. 87-100)
    Marsha S. Collins

    En 1609 se publicó la versión aumentada de lasRimasde Lope de Vega, la edición conocida ahora sobre todo por la presencia delArte nuevo de hacer comedias. Sin embargo, la colección termina con un soneto en que imaginativamente Lope le da la voz y la palabra a Camila Lucinda, la musa principal de lasRimas, en unmise en scèneen que transforma a ella en Eurídice y a sí mismo en ‘español Orfeo’, archimúsico y archipoeta nombrado así por su musa. En aquella época se conocía a Orfeo también como la figura simbólica del mago que utiliza...

  11. 6 Upwards to Helicon: Lope de Vega, the Laurel de Apolo, and Acts of Judgement
    (pp. 101-116)
    Mark J. Mascia

    One of Lope de Vega’s (1562–1635) longest poetic works, theLaurel de Apolo(1630), has received less critical attention than much of his other poetry due to its sheer length. This massive poem, composed of tensilvasand totalling nearly seven thousand lines, is sometimes viewed as a simple litany of praise for several hundred contemporary poets. However, one often overlooked element is the way in which Lope uses this text to engage in acts of judgement and even personal vendettas against his rivals. The purpose of this study is to examine how Lope moves his locus of enunciation...

  12. 7 ‘Dulce es refugio’: El peregrino de Góngora se detiene
    (pp. 117-130)
    Noelia Cirnigliaro

    La producción de movimiento en la obra poética del Barroco está asociada usualmente a la trayectoria de un viaje que llega a tener connotaciones alegóricas. Uno de los casos más estelares es la obra de Luis de Góngora, quien abordó en múltiples ocasiones y con una variedad de objetivos estéticos el motivo del viaje y la multifacética figura del peregrino.¹ Ligado indefectiblemente al movimiento de sus pasos, el peregrino gongorino es tan errante como el proceso mismo de la creación poética. Peregrinar, no obstante, no es mero sinónimo de viaje, de movimiento, de desplazamiento y de errático caminar. El objetivo...

  13. 8 The Staging of Góngora’s Three Funereal Sonnets for Margarita de Austria Estiria
    (pp. 131-146)
    Jean Andrews

    Luis de Góngora y Argote’s three funeral sonnets for Margarita de Austria Estiria were published in 1612 in the festival book recording the exequies to mark the post-partum death of the queen, celebrated in the Santa Iglesia, Córdoba Cathedral, on 1 and 2 January of that year.¹ Góngora’s three sonnets appear first in a collection of poetry consisting of over thirty sonnets and alsocanciones,estanciasanddécimascomposed expressly for the exequies by the poets of Córdoba, the vast majority of whom, understandably since the event was organised by the Cathedral chapter, appear to have been clergy. A small...

  14. 9 Jealousy in María de Zayas’s Intercalated Poetry: Lyric Illness and Narrative Cure
    (pp. 147-164)
    Dana Bultman

    María de Zayas’s dynamic use of intercalated poetry in herNovelas amorosas y ejemplares(1637) andParte segunda del Sarao y entretenimiento honesto(1647) provides us with a sustained example of ‘poetry in motion’ across hundreds of narrative pages. Over the course of these works, Zayas intersperses lyric forms in her narrative, creating generic contrasts that are integral to the structure of both books and offering evidence for the gradual transformation of her central character, Lisis.

    As readers progress through the frame that enfolds and interconnects the twenty novellas of Zayas’s two books, they follow the thread of the story...

  15. 10 Hacia otra lectura del petrarquismo en Sor Juana Inés de la Cruz
    (pp. 165-182)
    Verónica Grossi

    En este ensayo busco esbozar una nueva lectura del petrarquismo en la lírica de Sor Juana Inés de la Cruz. Ofrezco por lo tanto, una serie de planteamientos generales sobre posibles modos de aproximación a la lírica, de temática amorosa, de la monja novohispana. Este acercamiento parte de trabajos anteriores sobre el petrarquismo en Sor Juana así como de nuevas reflexiones sobre el papel del entorno urbano, conventual y cortesano, tanto colonial como europeo, en las redes de significados, códigos de lectura y circulación de textos manuscritos e impresos de la temprana modernidad.¹

    Apoyo fundamental para mi análisis, concentrado en...

  16. 11 El conde de Salinas y Leonor Pimentel: cuando se juntan el amor y la poesía
    (pp. 185-212)
    Trevor J. Dadson

    Jueves Santo, 30 de marzo de 1600, a las diez de la mañana murió de sobreparto Marina Sarmiento de Villandrando y de la Cerda, VI condesa de Salinas y Ribadeo. Por segunda vez en cinco años Diego de Silva y Mendoza se encontró viudo y con un niño varón recién nacido para cuidar y criar, de cuya frágil salud dependía el futuro de la Casa de Salinas y Ribadeo. El comentario del cronista de corte, Luis Cabrera de Córdoba, en su aviso del 8 de abril, no fue, desde luego, muy esperanzador: ‘Se cree no vivirá.’¹ Afortunadamente, Cabrera de Córdoba...

  17. 12 Poesía popular en movimiento: los jeroglíficos ‘muy propios al intento y muy de su profesión’ en las celebraciones de la Valencia barroca
    (pp. 213-224)
    Carmen Peraita

    A mediados del siglo XVII, al igual que varias otras ciudades de la península, Valencia destaca por una producción ingente de poesía exhibida en celebraciones excéntricas y dispendiosas. En efecto, los acontecimientos festivos de índole variada son ocasiones que estimulan la escritura de poesía a la que es tan propensa la cultura de la edad moderna. Para momentos diversos de una celebración se escribe, pone en movimiento y hace circular géneros de poesía característicamente diferentes del poema pensado para un certamen poético. En efecto, la fiesta empapela la ciudad con una poesía de circunstancia,muy propia al intento, de carácter...

  18. 13 Responding to Góngora: María Rosal and the Clori Poems
    (pp. 225-242)
    Anne Holloway

    Herrera, writing in 1580, underscores the challenge inherent in the responsive poetic utterance.El Divino’s comments refer specifically to the performance of the amoeban song associated with pastoral poetry, which he presents as a model of emulative composition.¹ Philosophers of language in the twentieth century suggested that no utterance exists in isolation, indeed the need to respond and the desire to obtain response is enshrined in every communicative act:

    Any utterance – the finished, written utterance not excepted – makes response to something and is guaranteed to be responded to in turn. It is but one link in a continuous chain of...

  19. 14 Traveling in Place: Baroque Lyric Transports in Translation, or Flames that Bridge the Stream
    (pp. 243-266)
    Amanda Powell

    The title ‘Poetry in Motion’ suits the travel across language, culture, and time that constitutes literary translation. Across what bridge, by what mode, can a text arrive at the further shore – ‘[a] esotra parte, en la ribera’ – transformed to a new language and occupying a foreign literary context, yet with intangible spirit intact?¹ Does it best travel naked or robed, empty-handed or with baggage? In particular, how do we bring across Baroque lyric: rhymed, metered, allusive, with incisively doubled meaning or gorgeously encrusted figuration. Should highly ornate originals be simplified in translation, in order to make them understand able? The...

  20. Works Cited
    (pp. 267-290)
  21. Index
    (pp. 291-297)
  22. Back Matter
    (pp. 298-298)