Pedro Manuel De Urrea, Peregrinación De Las Tres Casas Sanctas De Jherusalem, Roma Y Santiago/Pedro Manuel De Urrea, Cancionero
2015; Liverpool University Press; Volume: 92; Issue: 4 Linguagem: Inglês
ISSN
1478-3398
Autores Tópico(s)Medieval Iberian Studies
ResumoENRIQUE GALE (ed.), Pedro Manuel de Urrea, Peregrinacion de las tres casas sanctas de Jherusalem, Roma y Santiago. Zaragoza: Institucion 'Fernando el Catolico'. 2008. 2 vols.: 1, 623 pp.; 2, 423 pp. ISBN 978-847820-932-3.MARIA ISABEL TORO PASCUA (ed.), Pedro Manuel de Urrea, Cancionero. Zaragoza: Prensas Universitarias de Zaragoza. 2008. 3 vols. ccvii + 1385 pp. ISBN 978-84-1503100-0 (pbk).Two important books have recently been published that give the poet Pedro Manuel de Urrea (1485-1524) the critical attention that he deserves. The first is an edition of the poet's last work, Peregrinacion de las tres casas sanctas de Jherusalem, Roma y Santiago, with a biographical introduction, a study of pilgrimage literature in its historical context, and analysis of the text. It had long been thought that this work, published in Burgos by Alonso de Melgar in 1523, and placed on the Inquisition Index in 1551, 1559 and 1583, was irretrievably lost until Enrique Gale Casajus chanced to discover a copy in the Municipal Library in Grenoble. The second is an edition of the poet's second and enlarged anthology, his Cancionero de todas las obras de don Pedro Manuel de Urrea, nuevamente anadido, with a meticulous study of his life and works. The only known copy of this book, published in Toledo by Juan de Villaquiran in 1516, is in the Biblioteca Nacional in Lisbon and formerly belonged to Queen Catalina, sister of Charles V and wife of Joao III of Portugal.Pedro Manuel de Urrea, Lord of Trasmoz, was born in Epila near Zaragoza on 25 March 1485 and died in Epila on 10 October 1524 (Toro Pascua, I, xiii, xxxvi; Gale 2008: II, 32, 102). He was the second son of Lope Ximenez de Urrea (d. 1490), I Count of Aranda (1488), Viscount of Rueda, Lord of Almonacid de la Sierra, Epila, Trasmoz, Mata, Castilviejo, Salinas and Casanueva. From a young age he was ambitious to make a name for himself as a poet, but, at the same time, he was fearful of exposing his work to slanderers, who, he says, have tongues like lizards, and he was disconcerted by the widespread publicity offered by the invention of the printing press. In the dedicatory epistle to his mother in 1513, he writes: '?Como pensare yo que mi travajo esta bien empleado, viendo que por la emprenta ande yo en bodegones y cozinas y en poder de rapazes, que me juzguen maldizientes, y que quantos lo quisieren saber, lo sepan, y que venga yo a ser vendido?He had good reason to be fearful because he had powerful enemies: he inherited a private vendetta against Alonso de Aragon (1417-1485), I Count of Ribagorza (1469), I Duke of Villahermosa (1476), who was a bastard son of Juan II of Aragon and Leonor de Escobar; and against the count's half-brother and successor Juan de Aragon (1457-1528), II Count of Ribagorza (1477), Castellan de Amposta (1506-1512), Lieutenant of Cataluna (1503-1506) and Viceroy of Naples (1507-1509), born out of wedlock to Maria Junquers. This feud was later inherited by Juan de Aragon's son and successor Alonso Felipe de Gurrea y Aragon, Lord of Pedrola, III Count of Ribagorza (1513), who had the military support of Alonso de Aragon (1470-1520), Archbishop of Zaragoza, an illegitimate son of King Fernando. In the years 1510-1513, when a dispute over irrigation rights with the monastery of Veruela sparked off the old vendetta, Pedro Manuel de Urrea was temporarily banished to his rural estates in Trasmoz, where he dedicated himself to literary pursuits.Juan de Aragon, II Count of Ribagorza, can be identified as the author of an invencion in very bad taste, which may have been displayed at the jousts in Barcelona in 1493, rejoicing in the death of the poet's father, the Count of Aranda (ID 0950; 11CG-546, LB1-267): 'Saco el Conde de Ribagorca una caranda, y dixo:/ Todo lo vano passo,/ y a quedado/ lo mejor y mas amado'.With his mother's encouragement and patronage, Pedro Manuel became the first member of the Spanish nobility to have his personal cancionero printed during his lifetime (Logrono: Arnao Guillen de Brocar, 1513), and he personally arranged for an enlarged cancionero to be published three years later. …
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