Abstract

Abstract In the sixteenth century, four Petrarch vitae appear in separate editions of the poet, as a preliminary accessus. These are added to a previous manuscript, a translation of an exempt biography from the mid-fifteenth century. With their variants, the five texts make up a “Petrarch paradigm” that serves as an authorial image model for Hispanic followers of the Canzoniere. Thirteen years after the last of these biographies, that of Salusque Lusitano, Herrera composed Garcilaso’s life to open his edition. The comparative study of the resulting images illuminates one of the vectors of change proposed by the Sevillian in the introduction of a cultist poetic whose previous step is the decentering operation of the Garcilasian model.

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