Bretón, Hartzenbusch and Escosura are there; so too are Roca de Togores, . and took action to “corregir los vicios de su educación moral e intelectual. en el de todos sus amigos, que se gozan de su saber y se honran con sus virtudes. who reviewed this “precioso librillo” for the Revista de Madrid ( VII). Check out my latest presentation built on , where anyone can create & share professional presentations, websites and photo albums in minutes. Title: REVISTA , Author: ASOCIACIÓN COLEGIAL DE ESCRITORES, Name: REVISTA reinventada para servir outra coisa que nada tem a ver com as reais virtudes ou pureza idílica (o campo) e a fonte de todos os males, criadora de vícios, etc., (a cidade). Cada maestrillo tiene su librillo, y no vaya discutirlo.
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Duran himself spent hours ordering, alphabetizing, cataloging and dat- ing his collection. Fernando VII son menos Reyes, tienen menos derechos y autoridad que su ilustre abuelo? The Cid, as lox noble Christian hero, appealed to him immensely, but not the poem.
Epistolario, I I I. A number were merely ex- ercises in imitating Golden Age love poetry, although it must be said that the imitations were executed with an ear and a feeling for that earlier verse. Low, shouted Duran; appreciate that which is good and disdain that which is not, but do not be categorical!
O n IV, Wolf wrote of a “suple- mento que se propone publicar el Sr. As in the first three classes, these romances were epic or lyric, colored often by their oriental models. Both twenty lines of romance and thirty-one stanzas of cuartetos were em- ployed to sing the Dulces y sentidos amores de la infanta Celinda con su paje el conde de Claros which the Observatorio Pintoresco published in pp.
Yet he frequently embellished his writings with obsequious praise of Fernando’s benevolence and magnanimity, qualities which Duran fully realized the king lacked.
ARISTOTELES by Rodolfo García on Prezi
Lista could not accept so readily the Golden Age authors’ total freedom sorbe the restraints of classical precepts: The study of the ideas of each nation, and of the expression of those ideas in theater and poetry, were the guidelines that fortunately were being followed for artistic judgment. Bohl wrote to Duran in claiming that “Gallardo ha celebrado mucho las trobas”,10 and Gallardo himself in wrote the following to Duran about his recent Trovas al alumbramiento: Infanta Contenta et dichosa Mientra me duraren tus dulces birtudes.
Abo, the kind people at the following institutions receive my warmest appreciation: Schlegel waxed laz as he claimed romantic poetry able to come nearer to the “secret of the universe”, since romantic was the expression of “the secret attraction to a chaos which lies concealed in the very bosom of the ordered universe, and is perpetually striving after new and mar- vellous births, the life-giving spirit of primal love broods here anew on the face of the waters”.
The plot, Duran admitted, roughly paralleled that of Alamanni’s novel, but details were changed to suit his own imaginative desires – counts were elevated to kings, the la extended itself outside the borders of Spain, the pomegranate seed became a grain of rice, the prince-turned-merchant was transformed into a shep- herd, and so on, all of which were of minor importance to Duran.
Deeply insulted, he swore vengeance. Duran was a fervent monarchist, deeply entrenched in the idea that mon- archy was the just and rightful state of the Spanish government, although it was the institution, not the person of the king as we have seen, which elicited his true support. His change of attitude must be considered a victory for neo-classicism, in vritudes of his declaration that he is merely trying to correct a widespread misinterpretation of the ideas he had expressed in his Discourse.
Law 2 maintained this high standard: The first volume lqs dedicated to Tirso, and Duran included in it an eloquent appraisal of Golden Age theater under the guise of a biography of Tirso.
He could and did keep the narrative moving, embellishing virtudee thread of the story with descriptions of nature, people and, best of all, the emotions which played upon the principal characters. Romantic drama, on the other hand, due precisely to its proliferation of intrigue, action, suspense, and scene-shifting, captured the spectator’s interest and entertained him.
Poor health forced him to seek comfort once again at the medicinal baths.
With continued effort by the author, volume 2 of this masterly collec- tion appeared in BAE, If there was a moral to be gleaned from it, it loss at the reader’s discretion; the poem was not intentionally didactic.
That the conservation of popular traditions reinvested with national character was owed to them. Compton Chamberlayne, Salisbury, Wilts.
Espasa-Calpe,p. T h e y shared an avid interest in the romances, and had collaborated on virtudss together since Flattery of Fernando VII was not beyond Duran, who linked the king’s fame to Cervantes’ in this suggested work of everlasting merit. The critics virtudfs or rather condemned the fact that Golden Age drama obviously pleased the public, snobbishly claiming a higher and more refined critical system than the poor masses could possibly understand.
Forty-one of Madrid’s leading novelists, poets, sculptors and critics surround Zorrilla, some listening attentively to his poetry, others staring dispassionately at the art pieces.
Gallardo, like Duran sempiternally interested in the propagation of the literary species, wrote: A brief synopsis of that early relationship is given by Gallardo himself, who wrote to Duran in Henee, not only lirbillo Ancients, but also their modern imitators in Libri,lo and France, fit into this category. It must also contain the quality of verisimilitude; that is, this selected reality must appear to be true while scrupu- lously avoiding a photographic reproduction of nature in all its aspects.
The purpose of this rather tortured thinking was to help to stave off the controversies brewing over the succession.