Garcilaso de la Vega, Catullus, and the Academy in Naples
| Autor: | Rosa Helena Chinchilla |
|---|---|
| Rok vydání: | 2010 |
| Předmět: | |
| Zdroj: | Calíope. 16:65-81 |
| ISSN: | 2377-9551 1084-1490 |
| DOI: | 10.5325/caliope.16.2.0065 |
| Popis: | The critical reappraisal of Catullus has commanded recently the attention of Neo-Latin scholarsship1 yet he is one model not considered in Spanish Renaissance studies.2 Critical appraisal of Garcilaso’s poetry since Herrera has centered primarily on the Horatian and theVirgilian models, along with their Renaissance imitators. However, a secondary model of imitation for Garcilaso de la Vega was Neapolitan poetry that imitated Catullus’s style. Catullus’s poetry is a less known model, and sheds light on new poetic techniques used by Garcilaso in the 1530’s. Both Renaissance NeoLatin poets and imitators in the vernacular were particularly attracted to Catullus because Jacopo Pontano had imitated his poetry extensively. Pontano was the leader of the Academy in Naples, first called Pontano’s Academy and later Sannazaro’s; and after Sannazaro’s death (1530) the Academy is most often referred to as simply the Neapolitan Academy, with its most important leader Scipione Capece in the 1530’s, Garcilaso de la Vega’s friend. Garcilaso de la Vega resided in Naples from 1532 to1536 where he composed his most innovative poetry. Angelo Poliziano (1454-1494), Andrea Pontano (1426-1503), Jacopo Sannazaro (1456-1530) and Andrea Navagero (1483-1529), Catullus’s best imitators, were also the most important inspiration to poetic genre experimentation by Garcilaso de la Vega. The Neapolitan Academy was led by Pontano, Sannazaro and Scipione Capece until 1543 when it was disbanded because Capece was exiled and his title was taken away as punishment for his participation in the religious reform movement in Naples.3 Garcilaso’s 16th-century commentaries note Catullus’s presence in his Castilian poetry. Keniston, Lapesa, Lumsden, Gutierrez Volta, Fernandez Morera, Rivers, Morros and Alcina in the twentieth century also note borrowings, coincidences and possible debts between Garcilaso’s and Catullus’s poetry. 4 A poet in the 16th century had many obstacles in reading |
| Databáze: | OpenAIRE |
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