Lírica y novela pastoril de la Colonia: Nuevas ediciones

Grandeza Mexicana de Bernardo de Balbuena. Edición crítica de JOSÉ CARLOS GONZÁLEZ BOIXO. Roma: Bulzoni, 1988. Pp. 123.

Siglo de Oro en las selvas de Erífile de Bernardo de Balbuena. Edición, introducción y notas de JOSÉ CARLOS GONZÁLEZ BOIXO. Xalapa: Universidad Veracruzana, 1989. Pp. 320 (más páginas e índices de ilustraciones).

Primera parte del Parnaso Antártico de obras amatorias de Diego Mexía. Edición facsimilar. Introducción de TRINIDAD BARRERA. Roma: Bulzoni, 1990. Pp. 276.     

Reception,wit, and the unity of Virgil's Georgics 1

This essay considers the ways in which the reception of Virgil's Georgics in eighteenth-century English verse may inform, enrich and complicate present-day readings of Virgil, focusing on questions raised by readers’ detection of wit or humorousness in Virgil and by the critical aim of discovering poetic unity in the Georgics.     

Beyond Orientalism: When Marceline Desbordes-Valmore carried Saʿdi’s Roses to France

This article follows a thread of translation and intertextual dialogue, taking us from the thirteenth-century Persian poet Sa?di to the nineteenth-century French poet Marceline Desbordes-Valmore. It reads Desbordes-Valmore’s poem ‘Les roses de Saadi’ (1860) with the two passages from Sa?di’s Golestān from which it was inspired, shedding new light on the poem’s metapoetic subtext. The original Persian text is compared to two French translations that were circulating at the time when Desbordes-Valmore was writing. This analysis of the Golestān’s reception forms the basis for the argument that Desbordes-Valmore recast in secular terms Sa?di’s discourse on poetic language, emphasizing the continuity, rather than difference, between her concerns and Sa?di’s. The case of Desbordes-Valmore thus reveals a forgotten facet of nineteenth-century French engagements with Middle Eastern culture: one of identification and literary influence, which existed alongside the processes of “othering” for which the period is better known.     

Slanted histories,Hesperian fables: material form and royalist prophecy in John Ogilby’s The Works of Publius Virgilius Maro

ABSTRACT

This article considers the status of John Ogilby’s Virgil translations as royalist texts. The paratextual material to the 1649 and 1654 editions provides a framework which invites a royalist reading; the translation promotes this by manipulating Virgil’s text and contemporary typographic conventions. These factors combine in passages that depict the death of kings. The volume follows the Virgilian precedent of foretelling events that had already occurred by presenting the passage on the death of Priam in such a manner to imply that it anticipated Charles I’s execution. This allowed Ogilby to grant a sense of inevitability to the prophecies his translation offers regarding events that he hoped lay in the near future. The 1654 edition subtly draws on Caroline-era royalist literary tropes to suggest a permanent revival of the monarchy under Charles II. Ogilby’s contributions to Charles II’s coronation celebrations draw on the Virgil translations in vindication of such prophecies.     

Notice to contributors

In 1400 Guillaume l’Archevêque, the lord of Parthenay, commissioned the Roman de Parthenay (RP), a poetic ancestral romance affirming his family’s descent from Mélusine, the mythic fairy-serpentine matriarch of the Poitevin Lusignan dynasty. Prevailing scholarship holds that Guillaume’s commission was a political response to the earlier patronage of a prose Mélusine romance by Jean, duke of Berry, c. 1392. According to this view, Guillaume was an English partisan who sought to counter the French claims to Poitevin territories embedded in Berry’s romance with a text that proclaimed his own (and therefore English) rights to lands in central France. After exploring textual and historical evidence for this conventional view, the paper argues that clues to understanding Guillaume’s patronage lie in an analytical comparison of passages in the RP with the specific dynastic circumstances confronting l’Archevêque at the end of the fourteenth century. Examination of the romance in conjunction with evidence provided by feudal, financial, and legal sources suggests that Guillaume’s literary patronage was motivated not by contemporary affairs of state but by his anxieties about the imminent extinction of the Parthenay dynasty.     

Le Danger des liaisons: Censoring Laclos’s Liaisons dangereuses

When Pierre-Ambroise-François Choderlos de Laclos’s Liaisons dangereuses first appeared in late March 1782, it was an immediate succès de scandale. Laclos’s focus on his characters’ libertine psychology and his creation of a “monstrous” female villain, Merteuil, distinguished the novel from mainstream eighteenth-century French works. As an analysis of the novel’s reception demonstrates, Laclos’s suggestive portrayal of female sexuality and empowerment—and, specifically, of Merteuil—led first to the text’s association with dangerous works known as “mauvais livres” or “livres philosophiques” such as the Marquis de Sade’s Justine (1791) and the anonymous Histoire de Dom Bougre, Portier de Chartreux (1741), and later contributed to its classification as a pornographic work at the time the concept was invented in the early nineteenth century—and, ultimately, to its censorship in 1823. If the novel was devoid of explicitly sexual scenes, it nonetheless elicited such images in the minds of (at least some of) its readers and thereby caught the attention of the authorities. Les Liaisons dangereuses may be one of the most prominent historical cases of a book being banned not for what was depicted in its pages, but for the fantasies it inspired—providing a compelling twist to the adage that “pornography is in the eyes of the beholder,” or the mind of the reader.     

Marvell as libertin: Upon Appleton House and the Legacy of Théophile de Viau

Abstract

This paper argues for a ‘libertine Marvell’ as heir to a line of intellectual and poetic influence stretching from the atheist philosopher Lucilio Vanini, through the poets Théophile de Viau and Marc-Antoine Gérard de Saint-Amant, via their English translators Charles Cotton, Thomas Stanley, and Thomas Fairfax, to Marvell’s poem Upon Appleton House. It argues that Upon Appleton House captures the libertine spirit of Théophile more faithfully than Stanley and Cotton’s largely sanitised versions. Conversely, French libertine poetry and thought of the 1610s and 1620s are seen to provide the best context for understanding the ‘vitalism’ of Marvell’s garden poems, as well as their unusually divagating observational style.     

Spain’s Military Campaigns in Sardinia and Sicily (1717–1720) According to Jaime Miguel de Guzmán-Dávalos,Marquis of la Mina

The Colección de cuadros y planos sobre de Cerdeña y Sicilia en los anõs 1717, 1720 is an archive of military maps complementing the Memorias written by Jaime Miguel de Guzmán-Dávalos, second marquis of la Mina, who had participated in these campaigns. The Colección illustrates some of the most important events of the Italian campaigns against the Quadruple Alliance of Britain, France, Austria and the Dutch Republic (1717–1720). Comparison of the maps and other drawings with details in la Mina’s Memorias allows us to clarify his main objective in compiling the text, which was to record the operations faithfully for use in military education.     

Representative Ideas of the Deathwish in Nineteenth-Century French Literature

The extensiveness of Alfonso X’s Libro del saber de astrología created such a challenge that only one of the nine subsequent, variant copies attempted to copy it in its entirety: Vatican Library, Ms. Vat. lat. 8174. None of them, including this one, however, contains all of the original text. It is the intricacy of design of the first treatise, the Libro de las figuras de las estrellas fijas que son en el ochavo cielo, however, that posed the greatest challenge for copyists. The Vatican copy and Ms. 1197 of the Biblioteca Nacional de España approximated the design of text of the constellation to the left with a wheel diagram of the various stars to the right as found in the original. The way that Ms. 9-28-8 5707 of the Biblioteca de la Real Academia de la Historia negotiated this arrangement by using two conjugate folios, placing the star wheel diagram across the interior two pages and the text on the first and fourth page, which left a considerable amount of blank space that invited over the years several kinds of writings—tallies, signatures, memorias (a record of transactions), and billet doux (essentially, love messages sent via a go-between). The billet doux form the greatest literary interest given their date, their content, and the name of the male protagonist—Felisardo, which aligns them with Lope de Vega’s work called Novelas a Marcia Leonarda, and in particular the one titled La desdicha por la honra—published in 1624.     

Jean Lemaire de Belges's Rhetorical Masks in L’Amant Vert and “Les Regretz de la Dame Infortunée”

A prominent feature of the poetry of Franco-Burgundian poet and rhetorician Jean Lemaire de Belges (1473–1524) is his use of a rhetorical mask—a persona—through which to proffer his utterances and assert his identity. Because the early sixteenth-century court poet's financially and politically subservient position vis-à-vis powerful aristocratic patrons demands an encomiastic rhetoric that leaves little room for the poet's self-assertion within the body of the poetic text, Lemaire must employ the indirect means of a narrative mask to assert his own existence and concerns. This article examines first the narrative mask of the parrot-lover in the 1505 Epîtres de l’Amant Vert, through which Lemaire is able to voice concerns about his precarious position as a writer almost entirely at the mercy of his patron's good health and good will. A discussion of “Les Regretz de la Dame Infortunée” (1506) follows, in which Lemaire takes an intriguing narratological stance that unites his voice to that of his patroness, Margaret of Austria (1480–1530), ultimately forging an authorial je that speaks for both poet and patron. This nearly mystical union of narrative voices allows Lemaire to express his own concerns about the volatility of the patronage system while concomitantly giving voice to Margaret's mourning at the death of her brother, Philip the Handsome (1478–1506).     

Rousseau’s reception as an Epicurean: from atheism to aesthetics

ABSTRACT

What did Rousseau's readers mean when they called him an ‘Epicurean’? A seemingly simple question with complex implications. This article attempts to answer it by reconstructing Rousseau's contemporary reception as an Epicurean thinker. First, it surveys the earliest and most widely read critics of the second Discourse: Prussian Astronomer Royal Jean de Castillon, Jesuit priest Louis Bertrand Castel, and Hanoverian biblical scholar Hermann Samuel Reimarus. These readers branded Rousseau an Epicurean primarily to highlight his atheism, his anti-providential and materialist natural philosophy. Then, it discusses Genevan pastor Jacob Vernet's positive assessment of Rousseau as a critic of ‘fashionable’ Epicureanism, before reconstructing Rousseau's critique of the reception of Alexander Pope's Essay on Man as an Epicurean text. These sources elucidate Rousseau's engagement with a range of ideas and argumentative positions that would inform his later self-identification as a ‘refined’ Epicurean. In particular, they highlight his interest in how a sentimental awareness of beauty might mitigate the potentially vicious effects of hedonism. The article concludes with novelist Mme. de Genlis’ critique of Rousseau's Wise Materialism, using his thoughts on the imagination to suggest some of the ways the neglected aesthetic dimensions of Rousseau's reception of Epicureanism might be developed.     

‘Between my Brow and the Stars ...’: Linkages Between the Categories of Subject,Space, and Time in Jan Zahradníček’s Verse of the Second Half of the 1930s

The study enquires how the functional relationship between the broader framework of Czech poet Jan Zahradní?ek’s vision of the world and the narrower, governing principle shaped by his declared adoption of a fixed, ideologically unambiguous (confessional) model for viewing life and the world is realized. The present author’s deliberation is based on an analysis of the categories of lyrical subject, space and time as rendered artistically in two collections of verse by Jan Zahradní?ek: ?íznivé léto (Thirsty Summer, 1935) and Pozdravení slunci (A Salute to the Sun, 1937). It is found that, rather than speaking of the mutually contingent effect of these two planes of reality, it would be better to think in terms of a colliding of fragments, each of which represents a part of its own reality — poetic truth and truth sprung from an ideology. The literary text becomes a specific locus that makes this intersection possible, and it expresses an entirely new form of reality. Motivated on the one hand by the experience of creative freedom and on the other by having voluntarily accepted certain external ideological considerations which perforce refine poetic freedom, or poetic output, with regard to the appreciation of its meaning, thereby giving it added force and depth, the poet fashions — with various degrees of success — the sundry fragments of this and that layer of reality into a two-way correlation that is reinforced by the dominant effect of the aesthetic function. He thus creates a specific, imaginary whole that opens man up to the world and adumbrates for the reader the idea of unity in diversity. However, at the same time he does not veil the sense of disillusionment that lies at the root of all modern poetry, arising from the notion that neither life, nor the world can be integrated into some ideal, harmonious form.     

Epitomising the Modern Spanish Nation through Popular Music: Coplas from La Caramba to Concha Piquer, 1750–1990

Music is an important language of the emotions and can often arouse strong passions in its performance and representation, both from the individual's perspective of personal identity and for the individual's sense of identity and of belonging to a given community. Likewise, music can serve to whip up and reinforce nationalism and national chauvinism against the ‘other’ as well as serving as a badge of identity. In this article I explore a musical form, a song that has been defined as ‘Spanish’ and as the ‘national’ song: la copla. Copla is rooted in the past and first appeared as both a poetic and a theatrical form, but always accompanied by music. It was, however, during the eighteenth century, when nationalism made its appearance as a ‘concern’ in the Spanish political‐cultural arena, when coplas would be used as a mark of Spanish identity. Copla is a women's song. Although it has been interpreted by men, some of them internationally renowned like Miguel de Molina, the most famous performers have been and still are women. That is why perhaps a recurrent theme of coplas is unrequited love, whereby love and passion play an important role, either with regard to the individual or the community from which the individual hails. But there are also other themes such as the longing stimulated by alien rule, which is reflected by cultural opposition and resistance to discourses of power, not only in terms of open opposition, but in a more subtle form of resistance, particularly in gender terms. I claim that it is precisely this resistance to fixed discourses of gender that have made coplas excellent negotiators with the different musical, social and political contexts and in this way have made them an icon of the invented tradition that is fundamental in the creation of a nation.     

Secular apocalyptic and Thomas Hardy

Thomas Hardy's Jude the Obscure (1895) makes ironically secular use of the imagery of the New Jerusalem and of unregenerate Babylon in the Book of Revelation. His purchase on the text is mediated both by Bunyan's Pilgrim’s Progress, a childhood favourite, and hymns such as ‘Jerusalem the Golden’ translated from Bernard of Cluny's De Contemptu Mundi. Avoiding the traditions of anti-Catholic interpretation, and of explicitly political readings which identify Babylon and the mysterious ‘number of the beast’ with particular historical adversaries and tyrants, Hardy uses the biblical text sardonically to demonstrate the inadequacy of escapist dreams and institutional religion and to explore problems of poverty and ambition complicated by sexuality and its cynical exploitation.     

An Essay on the Context and Formation of Wilhelm von Humboldt's Linguistic Thought

SUMMARY

This essay combines the study of Humboldt's sources with a critique of the treatment of this subject in most studies of Humboldt and his linguistic thought. One crucial issue is the date of his early ‘Über Denken und Sprechen’, which is our first evidence of his mature thinking about language. This text is conventionally dated 1795, thus ruling out that Humboldt might be indebted to the anthropo-linguistic philosophy that he explored in Paris a few years later. But a host of facts make the date untenable and the debt unquestionable, including incontrovertible evidence that ‘Über Denken und Sprechen’ relies on Condillac's argument for the anti-idealist principle that the distinction between subject and object is the absolute precondition for self-awareness and reflection, and thus, by the same token, for the concept of Weltansicht. ‘Über Denken und Sprechen’ also shows that Humboldt was inspired to choose Condillac's and Destutt de Tracy's argument over that of Fichte for what Berkeley disapprovingly called ‘outness’. This analysis exemplifies the critique that is advanced in this essay.     

Die kinder des Thyestes∗

Eclogue 6 is not odd, as alleged. Gallus fits the convention of Roman poets in Arcady. The Silenus song is generic, with various Greek antecedents. Silenus himself is drawn with humour, a neglected feature; his Lucretian tone may parody or pay tribute to that poet. Virgil is fond of singing mythological creatures. There is much linguistic‐thematic interplay with his other poetry. Eclogue 6 is studiedly pastoral, a synthesis of ingredients, beginning and ending with Virgil himself ‐ ‘Vir‐gilian’ is the appropriate label.     

Leviathan and the bagpipe: Hobbes and the poetics of figuration in the English revolution

Though English humanists tended to emphasize the continuity between rhetoric and poetics, Thomas Hobbes confronted the tensions between those linguistic arts as they were practised in the early modern period. This essay argues that Hobbes’s reinvestment in rhetorical eloquence was accompanied by a renewed understanding of figurative expression’s uniquely poetic effects. Breaking from royalist writers who often insisted upon the literal truth of monarchical imagery, Hobbes adapted an approach to metaphor honed by parliamentarian polemicists in the English Revolution. In both his literary-critical epistle, the “Answer to Davenant”, and Leviathan, Hobbes used an awareness of language’s poetic dimensions to revise many of the master tropes of early modern discourse, deconstructing the epic invocation to the muse and fundamentally transforming the body politic. In the process, he demonstrated the power of poetic figuration as a philosophical instrument for collective knowledge.     

A Witness to the Early Reception of Bonaventure’s Collationes in Hexaëmeron: Nicholas of Ockham’s Leccio at Oxford (c. 1286) — Introduction and Text

Abstract

This essay presents a brief introduction to and an edition of Nicholas of Ockham’s Leccio at Oxford, which begins with the biblical verse, O altitudo diviciarum sapiencie et sciencie Dei (Romans 11. 33). This leccio may have been Nicholas’s inaugural sermon as a Master of Theology at Oxford and therefore dates to 1286. Whatever the precise genre of Nicholas’s leccio, the text is also important because much of it copies entire sections of St Bonaventure’s (d. 1274) Collationes in Hexaëmeron. Nicholas’s text is therefore a witness to Oxford University practices of the late thirteenth-century and to the late thirteenth-century reception of Bonaventure.