Abstract
In the poetry of Melendez Valdes, boht in its jovial and meditative facets, there frequently merge loans from the classical tratition. The present work reviews many of these echoes, ranging from rethorical devices such as the recusatio or the priamel , subgenres, such as the Genethliacon , or from commmonplaces, such as the exclusus amator , to the meticulous traces of a specific linguistic configuration, which refer to a specific model of classical poetry. The poetry of Melendez, despite being charged with sentimentality at times, lies beyond the great frontier of Romanticism.
Highlights
The present work reviews many of these echoes, ranging from rethorical devices such as the recusatio or the priamel, subgenres, such as the Genethlíacon, or from commmonplaces, such as the exclusus amator, to the meticulous traces of a specific linguistic configuration, which refer to a specific model of classical poetry
The poetry of Meléndez, despite being charged with sentimentality at times, lies beyond the great frontier of Romanticism
Summary
Aún quedan esfuerzos por hacer para dilucidar puntos concretos del sustrato clásico que, en buena medida, vertebra la obra de nuestro poeta. He aquí, en efecto, que nos encontramos con un autor impregnado de abundantes lecturas y buen conocedor de los clásicos, por lo que se hace imprescindible el laborar en el análisis de sus modelos. Cuando en 1815, en Nimes, Meléndez expresa en el prólogo a sus versos que el lector podrá encontrar en ellos el amor «a la tranquilidad, a la medianía» ^^, no hace sino mostrar el deseo de que su obra esté empapada de espíritu horaciano, de aquella gozosa áurea mediocritas expresada en multitud de composiciones y, en particular, en la oda décima del libro segundo de Horacio ^^. Colford (1942: 145) señala solamente la influencia de Anacreonte en este texto
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