La poesía amorosa de Quevedo como estrategia literaria

Abstract

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This article ponders on crucial aspects concerning Quevedo’s love poetry: the writing ‘to the Italian mode’ and aspects of remodelling and reinvention; its rewriting, acclaiming the Petrarchan seed and its tradition of authors, different to contemporary writers who subvert it; its relation with the motives, forms and traditions of Petrarch and the lovesong tradition (‘cancionero’); its Spanish or ‘castilian-like’ imprint; questions related to emission and reception; its wanderings among the autobiography-existential and the literary-intertextual axes; aspects of chronology, production, and and autograph and manuscript circulation; questions concerning dates, composition, and remodelling; the importance and adjustment to the court atmosphere and reception, to the academic reading sessions and to patronage; microestructural aspects of individual poems and the consideration of the complete love corpus of poetry, and the collection Canta sola a Lisi as a designated authorial corpus for publication. In conclusion, this study reflects on the place that the quevedian love poetry occupates as an implicit authorial exercise within his overall literary career.