De sene Veronensi: Quevedo, Lope y Góngora ante un epigrama de Claudiano

Abstract

El presente artículo estudia la pervivencia de un epigrama del poeta latino Claudio Claudiano (De sene Veronensi o El anciano de Verona) en las letras del Siglo de Oro. El influjo del complejo escritor alejandrino se analiza a través de la huella que una composición breve dejara en los escritores más brillantes de nuestro Barroco: Quevedo, Lope y Góngora. El estudio de las versiones de la imitatio arroja diversos datos acerca de los intereses y criterios de los tres autores. Así, Francisco de Quevedo presenta una equivalencia genérica exacta, ya que el soneto A un amigo que retirado de la corte pasó su edad se plantea como correspondiente vernáculo del epigrama. Por su parte, Lope de Vega reescribe el texto tardo-antiguo y lo inserta en el monólogo de un orgulloso personaje rústico (Juan Labrador), protagonista de la comedia El villano en su rincón. Finalmente, Luis de Góngora engasta varios versos del epigrama en el discurso en estilo directo que el peregrino errante pronuncia en la Segunda Soledad.This paper examines the survival of an epigram by the Latin poet Claudius Claudian (De sene Veronensi or The old man of Verona) in the letters of Spanish Golden Age. The influence of the Alexandrian writer is analyzed through the traces left in the works of most brilliant writers of Hispanic Baroque: Quevedo, Lope and Góngora. The study of the versions of the imitatio provides important data about the interests and stylistic criteria of these three authors. Thus, Francisco de Quevedo presents an exact generic equivalent, as the sonnet To a friend who retired from the court passed its age is raised vernacular equivalent of the epigram. For its part, Lope de Vega rewrites late-antique text and inserts it into the monologue of a proud rustic character (Juan Labrador), main character of the comedy El villano en su rincón. Finally, Luis de Góngora encrusted several verses of the epigram in a speech in a direct style pronounced by the wandering Pilgrim in the Soledad segunda.

This paper examines the survival of an epigram by the Latin poet Claudius Claudian (De sene Veronensi or The old man of Verona) in the letters of Spanish Golden Age. The influence of the Alexandrian writer is analyzed through the traces left in the works of most brilliant writers of Hispanic Baroque: Quevedo, Lope and Góngora. The study of the versions of the imitatio provides important data about the interests and stylistic criteria of these three authors. Thus, Francisco de Quevedo presents an exact generic equivalent, as the sonnet To a friend who retired from the court passed its age is raised vernacular equivalent of the epigram. For its part, Lope de Vega rewrites late-antique text and inserts it into the monologue of a proud rustic character (Juan Labrador), main character of the comedy El villano en su rincón. Finally, Luis de Góngora encrusted several verses of the epigram in a speech in a direct style pronounced by the wandering Pilgrim in the Soledad segunda.This paper examines the survival of an epigram by the Latin poet Claudius Claudian (De sene Veronensi or The old man of Verona) in the letters of Spanish Golden Age. The influence of the Alexandrian writer is analyzed through the traces left in the works of most brilliant writers of Hispanic Baroque: Quevedo, Lope and Góngora. The study of the versions of the imitatio provides important data about the interests and stylistic criteria of these three authors. Thus, Francisco de Quevedo presents an exact generic equivalent, as the sonnet To a friend who retired from the court passed its age is raised vernacular equivalent of the epigram. For its part, Lope de Vega rewrites late-antique text and inserts it into the monologue of a proud rustic character (Juan Labrador), main character of the comedy El villano en su rincón. Finally, Luis de Góngora encrusted several verses of the epigram in a speech in a direct style pronounced by the wandering Pilgrim in the Soledad segunda.