«La Nave de la iglesia de Bernardo de Toro y el Bajel de la Magdalena de Luis de Alcázar: recepción a lo divino de motivos clásicos en el Cancionero sevillano de Fuenmayor (siglos XVI-XVII)»
DOI:
https://doi.org/10.37536/RPM.2014.28.0.53214Abstract
Resumen: La lírica a lo divino constituye un género que se desarrolla poderosamente a partir del siglo XV, según una técnica de reescritura que culmina en la poesía de los grandes místicos del Renacimiento español. El Cancionero de Fuenmayor, códice sevillano de poesía religiosa de finales del siglo XVI, presenta un abundante caudal de vueltas a lo divino de temas, motivos, metáforas e imágenes poéticas propios de la poesía profana, como heridas, prisiones, fuentes y cazas de amor. En el presente estudio se analiza uno de los iconos más visitados por los autores del Fuenmayor, el motivo de la descriptio tempestatis, con las alegorías de la nave de la iglesia y del bajel o caravela de la Magdalena.
Palabras clave: Cancionero Fuenmayor. Bernardo de Toro. Luis Alcázar. Nave de la Iglesia. Bajel de la Magdalena. Reescritura a lo divino.
Abstract: The adaptation a lo divino of secular topics (themes, metaphors, motifs, images) is most popular during the 16th and 17th centuries, the Golden Age of Spanish literature. The Cancionero of Fuenmayor is a manuscript of religious poetry of the end of 16th century, that includes an important number of contrafacta a lo divino. In this article I analize one of the most utilized topic from Fuenmayor’s authors: the descriptio tempestatis, with allegory of the Ship of Church and of the vessel of the Magdalena.
Keywords: Cancionero Fuenmayor. Bernardo de Toro. Luis Alcázar. Ship of Church. Vessel of the Magdalena. Adaptation a lo divino.
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