Abstract
Boscan carries out a clear moral standards to the fable of Leandro and Hero by eliminating certain elements of its main source, the epilio of Museum, and add others that had not found in the Greek poem. Deleted, for example, the scene in which Leander has released the Hero’s belt and expands instead of the anointing of the body that the bride carried out in the body of the boyfriend, especially through other classical sources (the anointing of Aeneas by his mother Venus to become a God) and also biblical (the anointing of Christ at Bethany for a sinful woman). At the end she decided to save the lovers by placing them after their deaths by suicide in the Elysian fields when one of their sources, Bernardo Tasso, had located them not in those places but also in the forests of Myrtle. If Boscán has moralized the fable it is because he wanted to defend the conjugal above another type of love, as he had done in book II of his works (Barcelona, 1543) and to commemorate your wedding with Ana Girón de Rebolledo in September 1939.
Highlights
After their deaths by suicide in the Elysian fields when one of their sources, Bernardo Tasso, had located them not in those places and in the forests of Myrtle
If Boscán has moralized the fable it is because he wanted to defend the conjugal above another type of love, as he had done in book II of his works (Barcelona, 1543) and to commemorate your wedding with Ana Girón de Rebolledo in September 1939
Henri Goelzer, París, Société d’Edition «Les Belles Artes», 1959
Summary
Resumen Boscán lleva a cabo una evidente moralización de la fábula de Leandro y Hero al eliminar determinados elementos de su fuente principal, el epilio de Museo, y añadir otros que no había encontrado en el poema griego. Por ejemplo, la escena erótica en que Leandro desciñe la cinta de Hero y amplía en cambio la de la unción del cuerpo que la novia lleva a cabo en el cuerpo del novio especialmente a través de otras fuentes clásicas (la unción de Eneas por su madre Venus para convertirse en un dios) y también bíblicas (la unción de Cristo en Betania por una mujer pecadora). Si el barcelonés ha moralizado la fábula es porque ha querido defender el amor conyugal por encima de otro tipo de amor, como ya había hecho en el libro II de sus Obras (Barcelona, 1543) y para conmemorar su boda con Ana Girón de Rebolledo en septiembre de 1939. Palabras clave poesía clásica y del Renacimiento; los Evangelios; mitología; filosofía del amor; el amor conyugal; poesía comparada
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