Book contents
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- 1 Introduction: Con pretensión de Fénix
- 2 ‘Al cielo trasladado’: Quevedo’s Apotheosis of Leander
- 3 River Gods of Andalusia: Pedro Espinosa’s Fábula de Genil
- 4 Rewriting the Pastoral: Góngora’s Fábula de Polifemo y Galatea
- 5 Galatea Descending … Rereading Góngora’s Polifemo Stanzas 13–23
- 6 A Tale of Two Serpents: Biblical and Mythological Allusions in Cervantes’s El celoso extremeño
- 7 The Wound and the Bow: Cervantes, Philoctetes and the Pathology of Genius
- 8 Myth or History? Lope de Vega’s Caballero de Olmedo
- 9 Pedro Calderón de la Barca’s Eco y Narciso: Court Drama and the Poetics of Reflection
- 10 From Allegory to Mockery: Baroque Theatrical Representations of the Labyrinth
- 11 Mars Recontextualized in the Golden Age of Spain: Psychological and Aesthetic Readings of Velázquez’s Marte
- 12 Ut pictura poesis: Calderón’s Picturing of Myth
- 13 Opera on the Margins in Colonial Latin America: Conceived under the Sign of Love
- Bibliography
- Index
2 - ‘Al cielo trasladado’: Quevedo’s Apotheosis of Leander
Published online by Cambridge University Press: 09 May 2023
- Frontmatter
- Contents
- List of Illustrations
- Acknowledgements
- 1 Introduction: Con pretensión de Fénix
- 2 ‘Al cielo trasladado’: Quevedo’s Apotheosis of Leander
- 3 River Gods of Andalusia: Pedro Espinosa’s Fábula de Genil
- 4 Rewriting the Pastoral: Góngora’s Fábula de Polifemo y Galatea
- 5 Galatea Descending … Rereading Góngora’s Polifemo Stanzas 13–23
- 6 A Tale of Two Serpents: Biblical and Mythological Allusions in Cervantes’s El celoso extremeño
- 7 The Wound and the Bow: Cervantes, Philoctetes and the Pathology of Genius
- 8 Myth or History? Lope de Vega’s Caballero de Olmedo
- 9 Pedro Calderón de la Barca’s Eco y Narciso: Court Drama and the Poetics of Reflection
- 10 From Allegory to Mockery: Baroque Theatrical Representations of the Labyrinth
- 11 Mars Recontextualized in the Golden Age of Spain: Psychological and Aesthetic Readings of Velázquez’s Marte
- 12 Ut pictura poesis: Calderón’s Picturing of Myth
- 13 Opera on the Margins in Colonial Latin America: Conceived under the Sign of Love
- Bibliography
- Index
Summary
Fuego a quien tanto mar ha respetado y que, en desprecio de las ondas frías, pasó abrigado en las entrañas mías, después de haber mis ojos navegado,
merece ser al cielo trasladado, nuevo esfuerzo del sol y de los días; y entre las siempre amantes jerarquías, en el pueblo de luz, arder clavado.
Dividir y apartar puede el camino, mas cualquier paso del perdido amante es quilate al amor puro y divino.
Yo dejo la alma atrás; llevo adelante, desierto y solo, el cuerpo peregrino, y a mí no traigo cosa semejante.
This sonnet has been placed first among Quevedo’s love poems since the publication of El Parnaso español in 1648, three years after his death. Although Pablo Jauralde Pou speculates that Quevedo had probably intended it to be an introductory poem – ‘como pórtico a toda su poesía amorosa’ – there is not much evidence for such a claim. For one thing, if it was envisaged as an opening poem it was more likely to have been planned by Quevedo’s first editor, José González de Salas, who observed that it was he who had been responsible for matters such as the ordering of poems, most particularly in the sub-section of the fourth section – the Musa Erato – of the 1648 edition, which comprises the poems to Lisi. But the internal evidence does not in any case suggest a prologue-poem in the manner of Petrarchan collections. Even in what have come down to us as non-sequential collections, such as the sonnets of Garcilaso and Lope de Vega, the first poem often has a note of retrospection and self-analysis in line with the opening sonnet of the Canzoniere, and no such traits are evident in Quevedo’s composition.
Nonetheless I believe that even if it is not a classic proem then it certainly impresses as an arresting opening piece. It is remarkably resonant: rich in anticipations of what is to come in this section of El Parnaso español, including the poems to Lisi.
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- Rewriting Classical Mythology in the Hispanic Baroque , pp. 17 - 27Publisher: Boydell & BrewerPrint publication year: 2007