Quevedo, who for much of his life was a nobleman politically active at court, is now remembered as one of the great writers of the Baroque era. His love poems are among the best regarded from his substantial poetic oeuvre, but he ranges also over metaphysics, mythology and satire, and there are frequent references or allusions to his deep reading from numerous languages.
This book, originally published in paperback in 1987 under the ISBN 978-0-947623-12-8, was made Open Access in 2024 as part of the MHRA Revivals programme.
Contents:
i-xi, 1-209
Quevedo on Parnassus: Allusive Context and Literary Theory in the Love-Lyric Paul Julian Smith Complete volume as single PDF
Francisco de Quevedo (1580-1645) is one of the most celebrated and most prolific authors ever to write in the Spanish language. Perhaps best known for his picaresque novel, El Buscón, and his satirical fantasies, Los sueños, he also composed over a thousand poems in all possible genres. The love-lyric, highly esteemed for several decades, has only recently begun to receive the attention it merits. The diversity of Quevedo's poetic production is matched only by the variety of approaches adopted by critics to the texts themselves: psychological, ideological, semiotic.
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4-23
Chapter 1: Allusive Context and Critical Perspective Paul Julian Smith doi:10.59860/td.c053a35
I. Allusive context: proposition. II. Critical perspective: a survey. III. The citational mode. IV. The topos. V. Literary culture and erudition. VI. Quellensforschung. VII. Textual authority and poetic voice.
I. Literary theory: proposition. II. Rhetoric: argument and ornament; audience and ethics. III. Dialectic: categories and places; Ramus and Tasso. IV. Poetics: theory and practice; diction and clarity. V. Wit: rhetoric, dialectic, poetics. VI. Quevedo's literary theory: texts and problems. VII. The letter to the Conde-Duque (1629).
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54-89
Chapter 3: Rhetoric and the Lady: 'Celebración de Hermosuras' Paul Julian Smith doi:10.59860/td.c27225f
I. Allusion, theory, and the lady. II. Judgement and deliberation. III. Praise. IV. The courtly topos: Flori and Aminta. V. The abstracted mistress: Lisi. VI. A rhetorical exegesis: 'En crespa tempestad del oro undoso'. VII. Feminine pintura: 'En breve cárcel traigo aprisionado'.
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90-139
Chapter 4: Dialectic in Love and Nature: 'Afectos Propios y Comunes del Amor' Paul Julian Smith doi:10.59860/td.c3816a6
I. The dialectical trace. II. Iconography and opsis. III. Definition and contraries. IV. Invective and decorum. V. Description and apostrophe. VI. Exemplum and interpretation.
We may replace the erroneous 'modern' virtues for which Quevedo has been praised (tension, ambiguity) with three virtues which he himself would have understood, corresponding to the three disciplines from which I have drawn my critical vocabulary. The persuasive force of rhetoric is expressed in copia, the inexhaustible capacity for the multiple elaboration of a severely-restricted repertoire of themes. The discriminatory bias of dialectic registers as economy, the elimination of all that is extraneous to necessary argument. The heightened imitative capacity of poetics results in clarity, the graphic foregrounding of word and image.
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Bibliography entry:
Smith, Paul Julian, Quevedo on Parnassus: Allusive Context and Literary Theory in the Love-Lyric, MHRA Texts and Dissertations, 25 (MHRA, 1987)
First footnote reference:35 Paul Julian Smith, Quevedo on Parnassus: Allusive Context and Literary Theory in the Love-Lyric, MHRA Texts and Dissertations, 25 (MHRA, 1987), p. 21.
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