Abstract

Reading the Infortúnios Trágicos da Constante Florinda of Gaspar Pires de Rebelo (divided in two parts published respectively in 1625 and 1633, in Lisbon), causes a remarkable impression on the reader, even on the most prudent one. This work aims to show how this impression results from the application of the grotesque to the universe of the Portugueses exemplary novels, and it also tries to explain the contours and the results of this situation within the context of Baroque literature.

Abstract

The present work is the first monographic critical approach to the Cicle dels rams, a set of 29 poetic letters that Francesc Fontanella wrote in Roussillon during his maturity years. It is divided into six sections. The first one is dedicated to identifying and delimiting the cycle. The second is a brief description of the texts, which reflects both its formal aspects and its content, and points out the elements, the characters and the recurring situations throughout the cycle that provide it with a sense of unity. The third section analyzes the love discourse of the texts, with particular emphasis on their uniqueness in the fontanellan love lyrics. The fourth section argues that the texts, based on a probably real biographical circumstance —lthe convalescence of a lady—l must be read as literary pieces designed to entertain, and deals with analysing the different strategies that are mobilized with this purpose: humor, wonder and enigma. In the last section, a proposal for the dating of the cycle is exposed, based on a series of indications extracted from the texts and, finally, the evidence presented is used to build an overall reading of the cycle.

Abstract

The well-known Sonnet XIII by Garcilaso de la Vega «A Dafne ya los brazos le crecían» was to establish the disconsolate figure of Apollo, pining for the loss of Daphne, as the literary paradigm of the pangs of love —at least in Renaissance literature in the Iberian peninsula. Thus, a century later, Francesc Fontanella revisited the Garcilaso sonnet and carried out a profoundly Baroque re-reading. The Catalan text ‘transforms’ the symmetry and order in which the Spanish sonnet describes the metamorphosis of the nymph into an inseparable amalgam between the old way of being and the new reality, between the human and the plant, and freezes the figure in mutation: neither the original form nor the results of the process are as interesting as the mutation itself, an idea that conforms to Baroque sensitivities of the aesthetics of transformation. At the same time, the essentially sensory terms of the Renaissance text are transmuted, in the Catalan sonnet, into emotional, human characteristics; the Baroque poet emphasizes Daphne’s intentionality regarding her (almost self-)transformation, and attributes to her an extraordinary willfulness, contrary to Apollo, which is, in the end, to no avail. Finally, Fontanella’s elegiac text breaks with the secular expectations typical of Renaissance sonnets as an emblem of love’s misfortune and instead, rises above them based on the literaturization of the biographical experience.