Gary Brown

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“No es de condenar porque parezca enigmático”: Lope's commentary on the sonnet ‘La calidad elementar resiste’

Calíope, 2013

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Fernando De Herrera and Lorenzo De'Medici: The Sonnet as Epigram

Romanische Forschungen, 1975

Fernando de Herrera begins his Anotaciones of the poetry of Garcilaso de la Vega with a discourse... more Fernando de Herrera begins his Anotaciones of the poetry of Garcilaso de la Vega with a discourse on the sonnet which he identifies with the classical epigram, the ode, and the elegy: "Es el Soneto la m?s hermosa composici?n, y de mayor artificio y gracia de cuantas tiene la poes?a italiana y espa?ola. Sirve en lugar de los epigramas y odas griegas y latinas, y responde a las eleg?as antiguas en alg?n modo. ..." 1 Herrera's identification of the sonnet with the epigram and classical lyric forms demonstrates a commonplace

Lope de Vega's Evolving Rhetoric and Poetics: The Dedicatory Epistle to Arguijo (Rimas, 1602)

Hispanófila, 2009

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Serials Claims

The Serials Librarian, 1991

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Theperegrino amoroso: Four moments of poetic configuration in the spanish love sonnet

Neophilologus, 1976

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Lope Defending Poetry vs. Lope Writing Poetry: The Conflicts of "donde habla amor puro

MLN, 2009

Lope's defense of poetry, Cuestión del honor debido a la poesía, has attracted little attention f... more Lope's defense of poetry, Cuestión del honor debido a la poesía, has attracted little attention from scholars, due in no small part to the difficulty of reading a text that appears overburdened with excessive catalogs and recondite allusions, but also to its deceptive patina of counter-reformation moralism resolutely displayed in the form of a rhetorical exercise. It is my reading that Lope, rather than merely adopting panegyric convention aligned with moral conservatism, entertained more pragmatic motives stemming from a need to justify Spanish amorous poetry under insistent moral attack, and more significantly to claim validity for his own love poetry ("donde habla amor puro" Epistolario III: 330). Lope's Platonism both in defending and writing poetry was compromised, however, when it came into conflict with his literary embraces of eros and the imposition of a Scholastic-Aristotelian psychology. In effect Lope's "discurso" can be considered a conventional yet ambivalent early reflection on poetics, rhetoric and literary theory. 1

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Beyond print: reading digitally

Library Hi Tech, 2001

The development of reader devices and improvement of screen technology have made reading on scree... more The development of reader devices and improvement of screen technology have made reading on screens less cumbersome. Our acts of reading are not univocal, as we read in many different ways with many different goals in mind. Reader software can provide different levels of navigation support for the manipulation of digital text, presenting capabilities for analytic reading not available in the print‐on‐paper reading experience and compensating for our lack of orientation and feeling of omnipotent dominance of text. The parameters of e‐text reading and the issues of access remain central to readers and researchers, whether the electronic text is designed and packaged as an “e‐book” for portable reading devices, or resides on a server for distribution to library terminals to be downloaded to desktop PCs, laptops or tablet PCs. The power and functionality of reading software – note‐taking, highlighting and indexing capabilities, robust open searching across databases – are ultimately lin...

Integrating Films and Readings in the Intermediate Spanish Curriculum

Hispania, 1977

Reading Lope de Vega: On Writing and the Articulation of Poetic Voice

eHumanista: Journal of Iberian Studies, 2010

Critical perspectives of Lope de Vega as poet and dramatist have varied over the centuries beginn... more Critical perspectives of Lope de Vega as poet and dramatist have varied over the centuries beginning with the 17th-century views of literary enemies (Góngora, Cervantes, Pellicer) to literary friends (Quevedo, Elisio Medinilla, Montalbán). The Neo-Classicism of the 18th-century saw Lope as curiously aberrant from rationalist principles while 19th-century scholars viewed Lope through romantic and nationalist agendas. Approaches of the 20th-century have presented us with multiple schools of criticism-biographical interpretations, stylistics analysis, new criticism, formalist, structuralist, semiotic, deconstructionist and speech-act criticism, as well as postmodernist critics of recent decades. 1 Given his prolific output as dramatist, interpretation of Lope's poetics had been focused on the Arte nuevo de hacer comedias. Over time this focus shifted to the poetics of Lope's lyric poetry, influenced originally by Montesinos' classic essay in the edition of Poesías líricas de Lope de Vega (1925-26) 2 and more recently by the studies of Carreño, Gaylord Randel, López Grigera, Xavier Tubau and Sánchez Jiménez as well as annotated editions with introductory studies of Lope's Rimas (Pedraza Jiménez; Carreño), Rimas Sacras (Carreño and Sánchez Jiménez), Rimas humanas y divinas del Tomé de Burguillos (Carreño; Rozas), La hermosura de Angélica (Trambaioli), La Dragontea (Sánchez Jiménez), and Fiestas de Denia (Profeti). Analysis of Lope's poetry has led ultimately to the questions of Lope's selfrepresentation. Critical focus thus has moved away from the past mid-century stylistic and new criticism concern for the autonomous explication of the text to a reading of Lope's work within a broader historicist context-a reorientation that does not eschew literary evaluation to the diminishment of biographic import or vice versa. Mary Gaylord Randel incisively framed the issue: "Can Lope's verse be understood only in

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Rhetoric, Poetry and Politics in Lope's Al nacimiento del príncipe:" canto, arte, erudición y ingenio

eHumanista: Journal of Iberian Studies, 2011

Rhetoric, Poetry and Politics in Lope's Al nacimiento del príncipe: 'canto, arte, erudición y ing... more Rhetoric, Poetry and Politics in Lope's Al nacimiento del príncipe: 'canto, arte, erudición y ingenio' Gary J. Brown Independent Scholar Three years after the original publication of Lope's Rimas (1602), which contained two early manifestations of Lope's thoughts on poetry and rhetoric (dedicatory epistles to Juan de Arguijo Para escribir Virgilio de las abejas and Cuestión del honor debido a la poesía), Lope took part in a poetic festival organized by the imperial city of Toledo in celebration of the birth of prince Philip, future king Philip IV of Spain. The 1605 account of the proceedings (Relación de las fiestas que la imperial ciudad de Toledo hizo al nacimiento del Principe N. S. Felipe IIII deste nombre) describes the moment. Trumpets and drums announced the commencement of festivities followed by the distinctive appearance of Lope de Vega on stage. After acknowledging judges and dignitaries the popular dramatist and master of ceremonies assuming a new role as poet-actor seated himself behind a desk, shuffled his papers and slowly began reading aloud his inaugural panegyric to an attentive audience of nobles, clergy, peers and, one assumes, curious onlookers: Diose principio à la fiesta, y tocandose los instrumentos subiò a la silla Lope de Vega Carpio: el qual haziendo reuerencia à los juezes, caualleros, y personas doctas: y siendo honrado dellos, con grande cortesia, puso sobre el bufete algunos papeles, y sentandose en la silla començó assí: "El Origen diuino de las letras" (f. 15r-v) 1 The popularity of dramatized, competitive readings of poetry in Hapsburg Spain, acclaimed by participants as well as onlookers, aside from reflecting poetic tastes, The prose introduction to Lope's reading of his panegyric comes from the 1605 account of the proceedings. For the text of the poem I have used Carreño's version of Al nacimiento del Príncipe in

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From Past Imperfects to Future Perfects

The Serials Librarian, 1993

A quoi nous menent la facilite d'acces a l'information, la rapidite de distribution, la c... more A quoi nous menent la facilite d'acces a l'information, la rapidite de distribution, la communication instantanee? Face aux realites technologiques, l'auteur suggere un modele pour le processus de transition et expose les barrieres a un futur parfait, principalement celle du temps et de la lecture sur ecran

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