Formulaciones del mito en la poesía amorosa de Quevedo

David Gareth Walters e-mail(Login required)

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Published: Mar 1, 2005
DOI: https://doi.org/10.15581/017.9.28026
How to Cite
Walters, D. G. (2005). Formulaciones del mito en la poesía amorosa de Quevedo. La Perinola, 9, 227-240. https://doi.org/10.15581/017.9.28026

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David Gareth Walters e-mail(Login required)
Universidad de Exeter.

Abstract

84
The main aim of this essay is to attempt a classification of Quevedo’s treatment of myth in his poetry according to a three-fold division: analogia, simulacrum, scena. Analogia is a process that involves comparison or equivalence; simulacrum entails a more concealed mode of allusion; with scena the conception of myth is as a personal one, comprising self-dramatization and the creation of a space for the poet’s emotional drama. Of further interest is the distribution of these groupings. While the compositions that belong to the divisions of analogia and simulacrum figure mainly in the poems not dedicated to Lisi in El Parnaso español, those that fall in the category of scena come principally from two other sources: the poems to Lisi in El Parnaso español and the love poems that appear in the complementary edition, Las tres Musas últimas castellanas. The fact that these poems are among Quevedo’s most striking should remind us not to underestimate the quality of the compositions despite the editorial deficiencies of Las tres Musas.

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Issue
Vol. 9 (2005): The image of woman and love in Quevedo. Homage to Don Fernando Lázaro Carreter (Fernando Plata Parta, coord.)
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Articles

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