Imagery of love, death and fortune in the poetry of Pedro Manuel Ximénez de Urrea (1486– c .1530)
1980; Liverpool University Press; Volume: 57; Issue: 1 Linguagem: Inglês
10.1080/1475382802000357017
ISSN1469-3550
Autores Tópico(s)Comparative Literary Analysis and Criticism
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: FORTUNE [AS LITERARY/CULTURAL THEME]IMAGERY/METAPHORLOVE [AS LITERARY/CULTURAL THEME]*XIMÉNEZ DE URREA, PEDRO MANUEL (1486–c.1530) Notes 1. Roger Boase, ‘Poetic theory in the dedicatory epistles of Pedro Manuel Ximénez de Urrea ( 1486–c. 1530)’, BHS, LIV (1977), 101–06; and ‘Pedro Manuel Ximénez de Urrea: a biographical inquiry’, scheduled for publication in Iberoromania, IV (1980). 2. Chandler R. Post, Mediaeval Spanish Allegory (Cambridge, Mass. 1915), 4. 3. Samuel Taylor Coleridge, The Statesman's Manual, in The Collected Works, ed. R. J. White, VI (London and Princeton 1972), 30; cf. René Wellek and Austin Warren, Theory of Literature (3rd edn, Penguin reissue, 1973), 189. 4. Paul Piehler, The Visionary Landscape. A study in medieval allegory (London 1971), 11. 5. European Literature and the Latin Middle Ages, trans. W. R. Trask (London 1953), 195. 6. See A. Bartlett Giamatti, The Earthly Paradise and the Renaissance Epic (New Jersey 1966); and Stanley Stewart, The Enclosed Garden. The tradition and the image in seventeenth-century poetry (Madison, Milwaukee and London 1966). 7. Kenneth Clark, Landscape into Art (2nd edn, London 1956), 9. The use of the Greek paradeisos (from pairidaèza) in the Septuagint translation of the Pentateuch made every garden a potential image of the celestial paradise or the garden of Eden (Giamatti, 11–13). 8. Obras dramáticas castellanas, ed. Thomas R. Hart (Madrid 1962), 21. 9. See Emilio Orozco, ‘El huerto de Melibea’, in Paisaje y sentimiento de la naturaleza en la poesía española (Madrid 1968). 10. Curtius, 192; Piehler, 75–77. 11. Ed. J. Cejador y Frauca (Madrid 1913; repr. 1963), II, p. 204, II. 4–11; cf. A. D. Deyermond, The Petrarchan Sources of ‘La Celestina’ (Oxford 1961), 73. 12. Cancionero delas obras de dõ Pedro màuel de Vrrea (Logroño 1513), fol. vii; Cancionero de D. Pedro Manuel Ximénez de Urrea, ed. Martín Villar (Saragossa 1878), 52. Quotations are from the 1513 edn; the folio number is henceforward given in parentheses, followed by the page number in Villar. Accents and punctuation have been supplied throughout. I also quote from Urrea's Penitencia de amor (Burgos 1514; repr. by R. Foulché-Delbosc, Bibliotheca Hispanica X [Barcelona-Madrid 1902]), and Eglogas dramáticas y poesías desconocidas de Pedro Manuel de Urrea, ed. Eugenio Asensio (Joyas bibliográficas V [Madrid 1950]). 13. Ed. Elisa Aragone (Florence 1961), 71, 11. 68–69. 14. Kimberley S. Roberts (ed.), An Anthology of Old Portuguese (Lisbon n.d. [1956?]), no. 78, 227–28. 15. ‘Soy la sin espina rosa/que Salomón canta y glosa.’ In this anonymous villancico from the Cancionero de Upsala a girl appeals to the Song of Songs to justify her dark complexion; see Bruce W. Wardropper, ‘The color problem in Spanish traditional poetry’, MLN, LXXV (1960), 415–21, at 416. 16. Patrick Gallagher, The Life and Works of Garci Sánchez de Badajoz (London 1968), 148–49. 17. Urrea alludes to this work by the number of its stanzas: ‘Yo solo me andava con vida penosa . . ./ como lo cuenta el gran Juan de Mena/ en sus cincuenta dexada su glosa’ (xxiiv; 205). 18. Obras completas castellanas de Fray Luis de León (4th edn, Madrid 1957), II, 742–45; cf. chapter on ‘Pastor’ in Los nombres de Cristo, ibid., I, 466–82. 19. The Allegory of Love (Oxford 1936), 68. 20. G. R. Owst, Literature and Pulpit in Medieval England (2nd edn, Oxford 1961), 77. 21. A. D. Deyermond, ‘El hombre salvaje en la novela sentimental’, Filología, X’(1964), 96–111. 22. Marsilio Ficino, Commentary on Plato's Symposium, trans. S. R. Jayne (University of Missouri, Columbia 1944), 189; cf. Patrick Cruttwell, ‘Physiology and psychology in Shakespeare's age’’, Journal of the History of Ideas, XII (1951), 75–89. 23. ‘The cancionero poet, Quirós’ (unpublished MA dissertation, Westfield College, University of London, 1969), 27–28. 24. Cancionero musical de los siglos XV y XVI, ed. F. Asenjo Barbieri (Madrid 1890), no. 221, with rubric ‘Ponce’. 25. Reason begs the poet to forgive his heart for departing ‘sin liçençia’ (xxxii; 287). The poet warns his heart not to return wounded by passion, because he does not wish to share its perdition (xxxiiv; 301). 26. Hugo Albert Rennert (ed.), ‘Der spanische Cancionero des Brit. Museums (Ms. Add. 10431)’, Romanische Forschungen, X (1895–99), 1–176, no. 96; Cancionero general, ed. Antonio Rodríguez-Moñino (Madrid 1958), glossed by Quirós, fol. ccxi; Canc, musical, ed. Barbieri, rubric ‘F. de la Torre’, no. 38, fol. lxxxv. 27. Suplemento al Cancionero general, ed. A. Rodríguez-Moñino (Valencia 1959), no. 69, fol. cviiiv; Gallagher, 78. 28. Cancionero gótico, ed. A. Rodríguez-Moñino (Valencia 1951), 93–94; cf. ibid., 95–96. 29. The villancico ‘Mahoma cuéntame nuevas’ (xxxvii; 354) contains a similar touch of irony: the husband of Moragas is described as being ‘tan manso como un cordero’, an epithet belonging to Jesus. 30. Thomas R. Hart, ‘El Conde Arnaldos and the medieval scriptural tradition’, MLN, LXXII (1957), 281–85, at 283. 31. Obras completas, ed. Marques Braga, II (Lisbon 1942), 39–82. 32. Eduardo M. Torner, Lírica hispànica. Relaciones entre lo popular y lo culto (Madrid 1966), no. 201, 356. 33. H. R. Patch, The Goddess Fortuna in Medieval Literature (Cambridge, Mass. 1927), 147. 34. Ed. M. Menéndez Pelayo, in Orígenes de la novela, II (NBAE 7 [Madrid 1907]), 60–61. 35. Canzoniere, ed. Gianfranco Contini and Daniele Ponchiroli (Torino 1964), 245, II. 1–3, 5–6. 36. Cancionero castellano del siglo XV, ed. R. Foulché-Delbosc, II (NBAE 22 [Madrid 1915]), no. 434, 195–98. 37. ‘¿Melancolía renacentista o melancolía judía?’, in Varia lección de clásicos españoles (Madrid 1964), 46. 38. See Antonio Alatorre, ‘Los romances de Hero y Leandro’, Libro jubilar de Alfonso Reyes (Mexico 1966).
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