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Love and Remembrance

Love and Remembrance: The Poetry of Jorge Manrique

Frank A. Domínguez
Copyright Date: 1988
Pages: 232
https://www.jstor.org/stable/j.ctt130hscx
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  • Book Info
    Love and Remembrance
    Book Description:

    Jorge Manrique was the greatest poet of fifteenth-century Castile and one of the three or four greatest in Spanish literature. Frank A. Domínguez offers here an introduction to Manrique's poetry and the first book-length study of him in English in fifty years.

    After presenting the biographical and historical context of Manrique's poetry, Domínguez examines the poet's love lyrics, describing the large fund of commonplaces and forms that Manrique's verses share with those of other poets of his age. Manrique's highly stylized language and parallel verse structures express the obsession of the lover with the beloved. Moreover, his attention to parallel construe the world's greatest.

    In treating theCoplas, Domínguez not only offers a sensitive reading of the elegy but also examines questions of text, structure, and style. Like the love lyrics, theCoplaspresent a high incidence of parallel structures that make for clarity and symmetry. Domínguez also finds that the complex stylistic relationships of the verses provide theCoplaswith a unity that is deeper and more fundamental than has generally been perceived.

    This study, eclectic in its critical approaches, will be the standard English work on Manrique for years to come.

    eISBN: 978-0-8131-6273-7
    Subjects: Language & Literature

Table of Contents

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  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. FOREWORD
    (pp. ix-xii)
    John Esten Keller

    Each of the three centuries we think of as medieval—the thirteenth, fourteenth and fifteenth—produced at least two major writers in Spain. Gonzalo de Berceo and Alfonso el Sabio wrote great poetry in the thirteenth century; Juan Ruiz, archpriest of Hita, and don Juan Manuel composed their masterpieces in the fourteenth century; and in the fifteenth, the marquess of Santillana and Jorge Manrique stand out as the most famous. Two were clerics, Berceo and Juan Ruiz; one, Alfonso, was king of Castile and León; and three, don Juan Manuel, Santillana, and Manrique were nobles.

    Jorge Manrique fought and died...

  4. PREFACE
    (pp. xiii-xviii)
  5. ONE The Historical Setting
    (pp. 1-18)

    The policies and behavior of Pedro I of Castile alienated many nobles who saw the king as a threat to both their lives and their prerogatives. The assassination of the ruler in 1369 threw the kingdom into social and political turbulence that lasted until the end of the fifteenth century.¹ The murderer, the king’s half-brother, assumed the crown under the name of Enrique II (1369-79) and established the Trastámara dynasty.

    Enrique II owed his success to an alliance with disaffected minor nobles who eventually demanded a share of the spoils. The grants made by the crown in response to these...

  6. TWO The Minor Lyrics
    (pp. 19-61)

    Fifteenth-century poetry survives in numerous manuscriptcancioneros,which contain short lyric compositions and longer poems meant to be read or recited rather than sung.¹ Thecancionerosdocument the appearance in Castile of the courtly lyric, which developed in southern France in the late eleventh, twelfth, and thirteenth centuries.

    The influence of the courtly lyric in the peninsula was first felt in Galicia, in Portugal, and in Aragón. With a few notable exceptions, until the end of the fourteenth century, Castilians used Galician to express themselves in song.² In the fifteenth century, however, a significant number of Castilians began to write...

  7. THREE Coplas por la muerte de su padre: The Background
    (pp. 62-84)

    No holograph of the poetry of Jorge Manrique survives. Editors generally rely on theCancianero generalof Hernando del Castillo for the texts of the minor lyrics, and on early manuscripts and prints, and occasionally on the glosses of the poem (particularly those of the early sixteenth century) to establish a text of theCaplas.¹ The two best known modern editions are R. Foulché-Delbosc’sCapias que fizo don Jorge Manrique par la muerte de su padre,printed several times in the early part of the century, and A. Cortina’s edition for Clásicos Castellanos,Jorge Manrique: cancianero,which has gone through...

  8. FOUR Coplas por la muerte de su padre: A Reading
    (pp. 85-140)

    TheCoplascan be divided into sections by theme, as illustrated in the preceeding chapter. Sections are determined by the closure marks of groups of stanzas that signal a shift in the thematic and argumentative structures of the poem. They are most conspicuous at the beginning and end of theCoplas,but also exist within its body.¹ These closure signals are the source of the perception that the poem is loosely based on the structures of classical oratory: I-III (Exhortation); IV (Invocation); V-VII, VIII-XIV (The World and Its Uses); XV, XVI-XXIV (The Bad Examples: TheUbi sunt); XXV-XXVI, XXVII-XXXII (The...

  9. APPENDIX A: Pedro and Rodrigo Manrique
    (pp. 141-146)
  10. APPENDIX B: Satiric Poetry
    (pp. 147-151)
  11. NOTES
    (pp. 152-185)
  12. SELECTED BIBLIOGRAPHY
    (pp. 186-203)
  13. INDEX
    (pp. 204-213)