Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

This article rescues two epilios by Jerónimo Barrionuevo de Peralta on the myth of Pyramus and Thisbe: «Templar, Anarda, quiero mi Talía» and «Salió a gozar la ocasión». Composed respectively in octaves and romance quatrains, their textual tradition is reduced to ms. 3736 of the BNE. After publishing the short status quaestionis generated by the life and work of the Granada-born poet, I review the epilogue genre from Latin times to the late Baroque and offer the editions of both poems, emphasising their debts to the Polifemo («Estas que dictó rimas sonoras», 1612), the Solitudes («Pasos de un peregrino son errante», 1613-1614) and the Fable of Pyramus and Thisbe («La ciudad de Babilonia», 1618) by Luis de Góngora.  

This work proposes a journey through the readings and rewritings that important Latin American poets of the twentieth century (Borges, Neruda, Paz, Gelman, among others) made of Francisco de Quevedo's canonical sonnet «Cerrar podrá mis ojos». We argue that, in these readings, the sonnet undergoes three «avatars»: its early canonization in Latin America; its politicization, which is novel for a text of this theme; and its deconstruction. Examining these interventions, the article reaffirms the validity of the classic as a ferment of new interpretations and writings rooted in tradition.

This article examines the edition of the Obras sueltas, by Cerdá y Rico, in the literary and ideological context of the time.

Lucan refers in the Pharsalia (V, 505-607) to Julius Caesar’s failed attempt to cross the Adriatic with the help of the boatman Amiclas. The episode is divided into two parts, one featuring Amiclas and the other Caesar. The first becomes a eulogy for the humble and quiet life, which contrasts with the unrest in which the live of powerful people. The second consists of Caesar’s affirmation in the face of adversity. These pages trace the trajectory of this motif through the Spanish Literature of the 15th, 16th and 17th centuries.

According to CORDE (apud Sáez & Sancho, 2016: 6), the first documentation of the label of Spanish as the «language of Cervantes» occurred in 1836, by Mariano José de Larra. But until then, and even at that time, Cervantes struggled as a preeminent figure in the Hispanic literary canon along with others such as Gracián, Quevedo or Lope de Vega (Bloom, 1995 & Pozuelo Yvancos & Aradra Sánchez, 2000 regarding the concept of canon and its fixation in the West and Spain in particular). In this work we propose to answer the question of whether the Spanish language was on the verge of being considered and called the «language of Lope», having chosen other Western languages ​​close to other playwrights of the seventeenth century as an epitome (English as «the language of Shakespeare», or French as «the language of Molière»), while the German opted for the polygraph (although fundamentally a poet) Goethe (German as the language of Goethe, hence the Goethe Institut, just like by Cervantes is called the Cervantes Institute). To this end, we will point out and historiographically analyze the outstanding presence of Lope de Vega, which is close to that of Cervantes, in a corpus of grammars published in the Germanic field between 1778 and 1839, with which we complement the work of Zamorano Aguilar (2016) on the relationship between Lope de Vega and the history of Spanish grammar, also following the conceptual trail of the same Zamorano Aguilar (2009, 2010, 2016, 2017a, 2017b) that was already adopted and adapted in Sáez Rivera (2023a) for the canonical study of Nebrija.

This paper studies the dialogue of the dead (Totengespräch) Lope di Vega, Leßing und Pastor Richter. Eine Anekdote aus der Unterwelt, by the reknowned crime novelist A. G. Meissner (1753-1807). Starring a ghostly Lope de Vega who can be inserted in a curious tradition of spectral apparitions, this text offers an interesting insight into the reception of Lope de Vega in Enlightenment Germany. After a brief contextualisation of the genre of the Totengespräche and of the author of the Anekdote, the characterisation and evaluation of Lope in Meissner's text is considered. The main object of dispute between Lope and Lessing, one of the most respected theatre critics of his time, will be the very famous poetic fecundity of the Fénix, which in this text is presented as a problem of the Spanish playwright's work. The characterisation of Lope and Lessing, shows Meissner's neoclassical taste, but also depicts a new geopolitical and cultural map of Europe, in which Spain is firmly established on the margins.

This paper focuses on the image of Lope de Vega in Correo de las damas (1804-1808), a publication aimed at the female public as a supplement to the Diario mercantil de Cádiz (1802-1814). Through the analysis of 15 digitized volumes (volumes 16 and 17 are in a private collection), we explore how the figure of Lope de Vega is presented to the public. Therefore, in the first place we study the peculiarities of this publication. In the second place, we examine the way in which Lope appears in this publication, in response to open questions in the social context about literature and women. Finally, we analyze different images of Lope, that is, his appearance as a poet, as a genius, and as a playwright. In this way, we seek to obtain a broader view of the role played by a women’s magazine, Correo de las damas, to present one of Lope's profiles added to the process of canon construction, with the dialectic between academic discourse and the mechanisms of popularization.