The literary career of Jorge de Montemayor is paradigmatic for one built on courtly connections, given that his career corresponds to his service to the daughters of Charles V, ending around 1555-1556, when his service to the royal family ended. In this article, analyze Montemayor's depiction of courtly life through those texts -dedications, occasional verse, panegyrics- in which he explores his life as a court servant, particularly those texts related to Dona Maria and Dona Juana of Austria. I conclude that the critical view of court expressed in some of Montemayor's last writings has to do with his falling out of favor with Juana, whose political role as regent Montemayor called into question in a veiled way.
By examining the figures of Mary Tudor and Isabella of Portugal as they appear in the verses of Luis Zapata's 1566 Carlo famoso, this article aims to determine the extent to which the epic poet represents historical truth and the extent to which he reworks and refines history in a literary manner. In the case of Mary Tudor, the poet, more attentive to the Aeneid as a model than to the truth of events, distorts the personality of the Queen. Nevertheless, the text clearly conveys the importance of the queen as a purely passive instrument in the political negotiations between Charles V and Henry VIII of England. The portrayal of Isabella of Portugal is more faithful to reality, although Zapata obscures the significant role the empress played as governor during Charles V's long absences. The poet focuses particularly on two aspects of the empress: on one hand, he places her at the heart of the splendid chivalric world of jousts and tournaments characteristic of the emperor's court; on the other, he dwells on her love for Charles V. Both of these female characters, the empress and Mary Tudor, embody what has been termed "the private voice;" that is, they illustrate the sacrifice of personal happiness required by the greatness of the empire.
Margaret of Austria (1480-1530), daughter of Archduke Maximilian of Austria and Mary of Burgundy, was an outstanding diplomat and politician. She was entrusted with the regency of the Netherlands, first on behalf of her father and later of her nephew Charles. She became one of the most powerful women of her time. She was a very erudite person and a great patron of the arts who transformed Mechelen into an important cultural centre. One of the poets who came under her protection was Jean Lemaire de Belges, one of the first humanist writers in the French language. This study analyses how Margaret of Austria is represented in two works written by Jean Lemaire de Belges in 1505, La couronne margaritique and his & Eacute;p & icirc;tre de l'Amant vert. These two texts are closely related to the cultural context of the time and to the two literary debates of the period, the querelle des femmes and the querelle de & laquo;La belle dame sans mercy & raquo;. We will see how women characters are praised in these works and how the writer defends his patron's ability to occupy positions of power.
The folios of the Cancionero de Baena contain a series of six poems (now usually grouped together) that originated in a decir of Alfonso de Villasandino on the death of King Enrique III (ID0543). Furthermore, in another section of the same songbook, among the texts of Ruy P & aacute;ez de Ribera, one of them (ID1420) is preceded by an epigraph that also alludes to Enrique III's death. However, beyond the information provided by the epigraph, there is no trace of said monarch in the text; moreover, there are other connections that have not been considered to date. This article analyzes the relationship between Villasandino and de Ribera's texts from a thematic perspective -especially with regard to the political content- and from metrical and allegorical perspectives, while offering a detailed study of the originality of Ruy P & aacute;ez de Ribera's decir, to conclude that, seen outside of the elegiac character offered by Villasandino's decir, Ruy P & aacute;ez de Ribera's decir offers a poetic defense of the dynastic legitimacy of the Trastamara monarchy.
The influence of Dante, Petrarch, and Boccaccio in the literary work of & Iacute;& ntilde;igo L & oacute;pez de Mendoza, Marquess of Santillana, has been the object of scholarly great interest and indepth analysis for well over a century. In this article, I provide additional information that links Santillana's output with the Trionfi, especially in light of the absence in Santillana's library of manuscripts of Petrarch's poem and Boccaccio's Amorosa Vision. My analysis will focus, on the one hand, on the possible echoes of Petrarch's poem in La Coronaci & oacute;n de moss & eacute;n Jordi de Sant Jordi and El Sue & ntilde;o, and, on the other hand, on the role of the Trionfi as a direct source of El Triumphete de Amor.
In 1502, when Juana I was sworn in as successor to her parents, Isabel I of Castile and Fernando II of Aragon -the Catholic Monarchs (r. 1479-1516)-, Pedro Marcuello dedicated his cancionero (songbook) to her, which he presented in a beautifully illuminated manuscript. This article reflects on this text from the perspective of gift-giving, focusing on the author Marcuello and his desire to obtain the patronage of the royal family, and on the reasons why he did not obtain the expected counter-gift. This article historicizes the dedication to the princess and argues that the text was a work in progress that was forced to accommodate the vicissitudes of the royal family. The death of several heirs of the Catholic Monarchs -Prince Juan, his sister Isabel (Queen of Portugal), and her son, Miguel de la Paz- brought Juana to the throne. The changing situation of the royal family explains the content of Marcuello's cancionero since, as an author in search of patronage, Marcuello understood perfectly that the medieval monarchy went beyond a king or queen in their own right holding all the power. It was a much more complex institution, in which different royal family members shared and represented authority, power, and political continuity, and therefore received gifts, like Marcuello's manuscript.
The literary activity of the main authors of the time of the Catholic Monarchs not only focused on the figure of the monarchs, but also prefigured a new theme within historiographical, circumstantial or memorial poetry, even neo-Latin, by presenting their children as recipients and vehicles of royal patronage. All these authors celebrate the & laquo;beautiful generation & raquo; that saw the rise of Prince Juan and his sisters. The verses addressed to the daughters of the Catholic Monarchs (Isabel, Maria, Juana and Catalina) obey a new paradigm within the literary activity of Early Modern period: to offer literary examples of models of virtue, instruction and courtly behavior, and at the same time to serve as a vehicle for royal patronage. The model of womanhood described in verse will form a point of reference for the behavior not only for the daughters of the Catholic monarchs, but also for the whole court. In the verses of Juan Barba, Antonio de Nebrija, Cataldo Siculo, the bachiller de la Pradilla, Pedro Marcuello and other authors of the period writing in both in Castilian and Latin, these literary images will be defined, adorned with messianism, and turned into a panegyric to the monarchs, becoming a myth of the golden age in which embodied by women. This article will analyze these literary images of virtue and behavior whose descriptions (more moral than physical) convert the poems into propaganda for the monarchy, extolling the daughters of the Catholic Monarchs as a point of reference.
In this article, I propose a new reading of the Occitan verses written by Dante in Purgatorio 26 through a study of Andreu Febrer's poetry, especially his translation of the Divine Comedy. After an introduction in which I summarize the negative critical evaluation of the Occitan texts written by Tuscan authors at the turn of the thirteenth century, I argue that the Catalan poet Andreu Febrer provides us with an invaluable perspective for understanding the scope of Dante's corpus, and especially his Occitan verses, during the 14th and 15th centuries in the Catalan court. After reviewing the latticework of references to Dante contained in Febrer's poetry, I demonstrate how Febrer's knowledge of Dante and of Occitan helps us establish the text of Dante's Occitan verses that have, up until now, posed many philological problems.
Based on the texts themselves and on historical context, this essay suggests that three border ballads first published in Martin Nucio Vermeer's Cancionero de romances of 1550 were given to this editor by a member of the Saavedra family. These three ballads - -Caballeros de Moclin, Prisi & oacute;n de Sayavedra: Rio Verde, and Cautivo del renegado- show a relationship to the noble family Saavedra and reflect their two main trades: the war for Granada and hostage negotiator ( (alfaqueque (alfaqueque). There are four reasons which suggest that Juan Arias de Saavedra gave Martin Nucio a dossier of romances: the inclusion of the romances in the 1550 edition of the Cancionero de romances, the presence of Juan Arias de Saavedra in the Netherlands between the first edition (1546) and the 1550 edition, the use of the adjective & laquo;negra & raquo; in a metaphorical way in all three romances, and the presence of Sayavedra as a character in Caballeros de Moclin. This thesis rests on understanding fifteenth-century Spanish ballads in their European context.
This article focuses on a type of cantiga de amor whose feudalistic literary motif is a change of lady (senhor) provoked by the lady's failure to fulfil her obligations to her vassal. This lyric sub-genre is related to the Occitan chanson de change and forms the last link in a latent narrative sequence which, along with the mala canso and the comjat, revolve around the theme of desamor (unrequited love, loss of affection, heartbreak). However, the change-oflady-themed cantigas do not subvert the generic conventions of the canso in a way that would qualify them as satire (in particular the so-called escarnho de amor). Using as deciding criteria Valeria Bertolucci Pizzorusso's pioneering study, the establishment of lexical markers, and discursive developments that characterize this type of lyric, this article examines which of the Galician-Portuguese cantigas de change identified by scholars actually merit that name. Osoir'Anes, who was most likely familiar with the Proven & ccedil;al tradition, is the earliest author of compositions of this variety. Osoir' Anes, like later troubadours, integrates this kind of lyric into cycles within his production. There was a limited number of cantiga de change written, and none after the end of the thirteenth century. Cantigas featuring the change-of-lady motif are difficult to classify as part of the corpus of cantigas de change due to the treatment of this motif.
Margarita de Austria (1480-1530), hija del archiduque Maximiliano de Austria y de María de Borgoña, destacó por su faceta diplomática y sus grandes dotes políticas. Se encargó de ejercer la regencia de los Países Bajos, primero en nombre de su padre y, posteriormente, de su sobrino Carlos, y llegaría a convertirse en una de las mujeres con mayor poder de su tiempo. Era una persona muy culta y una gran mecenas, que transformó Malinas en un importante centro cultural. Uno de los poetas que estuvo bajo su protección fue Jean Lemaire de Belges, uno de los primeros escritores humanistas en lengua francesa. En este artículo, observaremos la representación de Margarita de Austria que aparece en dos obras de Jean Lemaire de Belges, compuestas en 1505, La couronne margaritique y su Épître de l’Amant vert. Estos textos están muy relacionados con el contexto cultural de la época, y particularmente con las dos grandes querellas literarias de ese período, la querelle des femmes y la querelle de «La belle dame sans mercy». Analizaremos la figura femenina que encontramos ensalzada en ambas obras y veremos cómo el escritor defiende la capacidad que tiene su mecenas de ocupar puestos de poder.
En el presente trabajo se estudian las figuras de María Tudor e Isabel de Portugal tal como aparecen en los versos del Carlo famoso (1566) de Luis Zapata. El propósito es ver en qué medida el poeta épico respeta la verdad histórica y de qué forma la reelabora y la estiliza literariamente. En el caso de la hija de Enrique VIII, el poeta, más atento al modelo de la Eneida que a la verdad de los hechos, traiciona la personalidad de María Tudor. No obstante, el texto deja bien clara la importancia que tuvo el personaje como instrumento puramente pasivo en las negociaciones políticas entre Carlos V y Enrique VIII de Inglaterra. Más fiel a la realidad es el retrato de Isabel de Portugal, aunque Zapata deja en la sombra la importante actividad que la Emperatriz desarrolló como gobernadora durante las largas ausencias de Carlos V. El poeta se centra especialmente en dos aspectos de la figura de la Emperatriz: por una parte, la sitúa en el centro del brillante mundo caballeresco de justas y torneos, característico de la corte del Emperador; por otra, se detiene en el amor del personaje hacia Carlos V. Tanto en el caso de la Emperatriz como en el de María Tudor, las dos figuras femeninas encarnan lo que se ha dado en llamar «la voz privada», es decir, ilustran el sacrificio de la felicidad individual que exige la grandeza del Imperio.
Alejada de la ola contra la IA que desató el lanzamiento de ChatGPT en 2022, esta monografía es una muestra paradigmática de los avances que se pueden alcanzar con la adopción de modelos computacionales de IA en el campo de la filología, en general, y de la imprenta incunable española, en particular. Además, pese a su aparente especialización, la teoría general, el método y los resultados de esta obra pueden tener una aplicación más general, pudiendo servir como introducción a las filologías digitales o como manual para la elaboración de otros modelos de transcripción automática de textos antiguos.
La presenza di Dante, Petrarca e Boccaccio nell’opera letteraria di Íñigo López de Mendoza, Marchese di Santillana, è stata oggetto, da ben oltre un secolo, di grande interesse e di approfondite analisi. In questo intervento, mi propongo di aggiungere qualche piccolo tassello alla comprensione del rapporto che lega la produzione di Santillana con i Trionfi, soprattutto alla luce dell’assenza di manoscritti del poema petrarchesco (ma anche dell’Amorosa Visione di Boccaccio) dalla biblioteca del marchese. La mia analisi si concentrerà, da una parte, sui possibili echi del poema petrarchesco ne La Coronación de mossén Jordi de Sant Jordi e El Sueño, e, dall’altra, sul ruolo dei Trionfi come fonte diretta de El Triunphete de Amor.
Introducción a la sección monográfica Poesía y reginalidad. Versos en torno a las mujeres de las dinastías Trastámara y Habsburgo.
La monografía titulada ¿Qué se fizo aquel trobar?: La poesía de cancionero ayer y hoy, (ed. de Cleofé Tato, A Coruña, Servizo de Publicacións, Universidade da Coruña, 2023) ofrece un balance del estado actual de los estudios cancioneriles, a través de una selección de los trabajos presentados al 7.º Congreso Internacional Convivio, que se celebró con éxito en A Coruña en noviembre de 2021 a pesar de las dificultades derivadas de la pandemia. La calidad y variedad de la muestra prueban la buena salud de este objeto de estudio en el ámbito filológico, hecho que invita a la editora a defender en las páginas introductorias que la poesía de cancionero sigue viva actualmente. A tenor de los trabajos publicados, los temas abordados en el encuentro científico ponen de manifiesto que se han llevado a cabo importantes avances en poesía trovadoresca occitana y gallegoportuguesa, ámbitos que suscitaron atención desde los inicios de los estudios cancioneriles; por contra, las propuestas investigadoras del congreso alertan, también, de la existencia de campos que todavía requieren de una mayor labor, como la poesía tardomedieval, cuyo interés crítico despertó a fines del s. xx. Entre las conclusiones positivas obtenidas en el balance de este encuentro, destaca la incorporación de nuevos investigadores al estudio de la poesía de cancionero, circunstancia que augura un largo futuro para Convivio.
Introducció a la secció monogràfica Seguint la petja de Dante: la tradició italiana i la poètica del segle XV.
En aquest article, proposem una relectura dels versos occitans escrits per Dante al cant XXVI del Purgatori a través d’un estudi de la poesia d’Andreu Febrer i, sobretot, de la seva traducció de la Commedia. Després d’una introducció en la qual resumim l’avaluació crítica negativa dels textos occitans escrits per autors toscans al pas del segle xiii al xiv, argumentem que el poeta català Andreu Febrer ens proveeix d’una perspectiva preciosa per entendre l’abast del corpus dantesc als segles XIV i XV, i sobretot els seus versos occitans, a la cort catalana. Un cop resseguida la xarxa de referències a Dante en el cançoner de Febrer, demostrem com el seu coneixement del poeta florentí i de l’occità ens ajuda a establir el text dels versos occitans de la Commedia que fins ara tants problemes havien posat als filòlegs.
La infanta Isabel Clara Eugenia, hija mayor del rey Felipe II y de su tercera esposa, Isabel de Valois, tuvo un destacado papel político en el reinado de su padre, quien mostró en numerosas ocasiones la confianza que le merecía su hija por su inteligencia y por sus buenas dotes políticas, algo de lo que dio buena cuenta la literatura de su tiempo. Así, el romancero no fue ajeno a esta realidad y convirtió a la infanta en protagonista de algunas composiciones y en personaje secundario de otras resaltando su valía para los asuntos de gobierno. En las páginas siguientes, se analiza el contenido del romance «Despedimiento de su Real Majestad y de la serenísima infanta su hermana, doña Isabel de la Paz», que se centra en la despedida que protagonizaron Felipe III e Isabel Clara Eugenia en Barcelona cuando la infanta se embarcó junto a su marido, el archiduque Alberto de Austria, rumbo a los Países Bajos, territorios en los que esta residirá hasta su muerte, acaecida en diciembre de 1633. Este romance evidencia la consideración generalizada que se tenía de Isabel Clara Eugenia como buena gobernante. Al final del artículo, se ofrece una transcripción del romance estudiado.
