Abstract

^ HIGHIjIGET of Professor Otis H. Green 's admirable history of Iberian culture is the chapter on Garcilaso de la Vega which thrusts into view the complexity of the poet's feelings and thoughts.1 Professor Green does not focus attention only on the courtier, scholar and lyricist, but also on the believer who shared the deeply religious outlook of his age and rose to Christian contemplation. This interplay of human and divine love had escaped the comprehension of ecclesiastic authors in the sixteenth century who tirelessly inveighed against the moral peril which they saw in Garcilaso 's rhymes. Their strictures may well be regarded as implicit recognition of the poet's achievements; ultimately, derogatory comments gave way to repeated attempts to use Garcilaso 's novel form for Christian purposes by grafting upon it a salutary message. On the following pages, a tribute to the dean of American Eispanists, I shall review the premises on which these rifacimentos rest, and thereafter examine some hitherto unrecorded transpositions a lo divino. Among the detractors of the new school of poetry, few match the eloquence of the Hieronymite friar Juan de Ijuna (Hieronymus Guadalupensis). This Bible scholar, alarmed by what he considered a steadily growing refinement in seductive techniques, pointed an accusing finger at the sensuous lyrics then in vogue:

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