Biography of Fernando de Herrera (poeta español, 1534-1597)

Spanish poet, born in Seville in 1534, and died in his hometown in 1597. By formal perfection which reached its poetry, depositary of the last echoes of the petrarquista heritage collected and disseminated by Boscan and Garcilaso, he was known among his contemporaries by the nickname of "El Divino".


Few details we know about the life of this poet of 16th century Spanish. Born in Seville, son of honest parents, possibly hidalgos. We cannot safely where he studied; It could do so in the school founded by Maese Rodrigo Fernández de Santaella, recognized by the city of Seville as College of Santa María de Jesús; There is also the possibility to do so in the study of San Miguel. Yes it can be said with certainty is that it was not completing school, as none of the academic qualifications which, certainly, would have added to his name failed. He received the minor orders of Ostial, reader, Exorcist, and acolyte, which allowed him to apply for and obtain a benefit in the parish of San Andrés in Seville. Obligations were limited to singing in the choir, to read his breviary, and to assist with their ecclesiastical dress to a Sunday or daily mass. In 1565 he was definitely transferred his residence Seville don Álvaro of Portugal, count of Gelves, and his wife Doña Leonor de Milán. The count also sponsored a literary gathering attended by, among others, Juan de Mal Lara, Mr. Pacheco, Baltasar de el Alcázar, Juan de la Cueva, Figueroa Mosquera, and the own Herrera. The Countess had a great impact on Herrera, who became the center of his Poesía amatoria. The relationship between the noble and poet was highly trusted, as Doña Leonor did depositary of your will. He spent the last years of his life quietly in the city of Seville, where he died in 1597, at 63 years of age.

He was a man of great culture, as attested by his biographer Pacheco: it had particular Saints lesson, he learned mathematics and geography, as main part, with great eminence. He also possessed knowledge of philosophy and medicine. He was also a connoisseur of the languages and Literatures of Greek and Latin; in this latest wrote some compositions, as Francisco de Rioja recalled: "he knew the Latin language very well, and made many epigrams, full of art and thoughts and ways of speaking, chosen in the most illustrious ancient writings on it".


The catalogue of his works includes two groups: canned and lost works. The first is reduced to four books in prose: relationship of the war in Cyprus, and success of the naval battle of Lepanto, published in Seville by Picard in 1572, which contains at the end one of the most famous poems of the Sevillian Bard, the "song in tribute to don Juan de Austria by the victory of Lepanto"; Tomás Moro, exemplary of the English Saint, printed life in Seville in 1592 by Alonso de la Barrera; The works of Garcilaso of the Vega with Anotaciones de Fernando de Herrera (Seville, 1580), considered by Antonio Alatorre as "the most beautiful book of literary criticism and scholarship poetry that was written in golden age Spain". It's a book in which you edit with comment the poetry of Garcilaso, but it is a compendium of poetic creation, rhetoric and literary criticism, to which must be added a broad encyclopedic erudition and an outline of the poetic art never wrote. Closely related to the latter work, although it was not printed in the poet's life is the answer to the remarks of the Prete Jacopin, in which Herrera defends attacks against annotations had launched the Constable of Castile.

To these works in prose should be added his book of poems, published in Seville in 1582 under the title of some works, book containing 91 compositions broken down in the following way: 78 sonnets, 7 Elegies, odes 5 and an eclogue. To these works should add loose poems written for the preliminary book of friends, and a large number of compositions that have been preserved in manuscripts scattered in different libraries.

The lost works we have news thanks to quotations which of them makes the own Herrera, Pacheco, Francisco Rioja or Mr. Duarte. Pacheco, in the biographical sketch that accompanies his book description of true portraits of illustrious and memorable men, quotes several of these works: a tragic poem the "loves of Lausino and Crown", several eclogues, the Gigantomachia, the translation of the abduction of Proserpina of Claudian, and, finally, a general history of the world until the reign of Carlos V; This catalogue, Francisco Rioja added an Amadis. Some of these works were never completed and some perhaps not even to write. None of his friends and biographers give us news of what happened with these texts ironwork, although Pacheco and Mr. Duarte speak of a usurpation, but without specifying the author or authors of such theft or destruction.

The most important part of his literary output is, without a doubt, poetry; It is thanks to her that Herrera occupies a prominent place in Spanish literature. As it corresponded to a poet of his time, the Sevillian Bard went through various topics: love poetry, poetry heroico-patriotica and laudatory poetry.

Fernando de Herrera, "dam am of you only, and por vos muero" (sonnet).

The poetic tradition in which is inserted the love poetry of Herrera participates in the petrarquismo, Neoplatonism and the treated filograficos, such as the dialogues of love of León Hebreo. The three schools of thought are collected in the Canzoniere of Petrarch, poet whose influence in the Spanish golden age poetry is fundamental; Herrera is perhaps more aware of the importance of the Florentine writer Spanish poet. Therefore the poetry of the Sevillian is steeped in concepts and petrarquistas issues, which sometimes coincide with the neoplatonic ideas, and even the courtly tradition initiated in Provence in the 12th century. One of the petrarquistas features penetrated into the practice of Herrera style, although she had already given in our 15th century and later authors (Garcilaso), is the concept of love for target: the poet from his birth is destined to love a woman. Herrera was believed to have been born under the sign of love, and so manifest in some of his poems, as you can see in the two lines of a sonnet, where we read: "I was born I by any chance intended / loving fire". But this destination does not presuppose a happy, since petrarquista love life - and here you can see the courtly influence - it means pain. The beloved rejects the poet, who realizes that the feelings he feels and expresses to the woman that he loves will be never reciprocated; to love is to suffer. In this form the pain becomes the substitute for the pleasure, the lover is delivered to the beloved awaiting receive more torment; their freedom, their willingness to have surrendered to the freedom and the will of the woman. This absolute submission culminates with a desire for total sacrifice, that will lead to death. This feeling is reached by the State of anguish and despair live poet, resulting in a State of bewilderment and confusion obsessive; confusion, and the puzzling Herrera expressed thus: "still by an untreated desert, / without light, leaderless, in lost confusion". Another petrarquistas concepts is the consideration of the beloved as a guide, as the light that leads to the poet into the sky. Following this tradition the Sevillian poet referred as light, Star, Lumbre, Lucero and siren; all names that belong to the semantic field of light. It is the light which, in the neoplatonic philosophy, guide the ascension of the lover, ascension that is described with the symbolism of the mystical literature in Herrera:

"And fragile crust I leave it to the sueloque prevents its weight slight flight; and I look for you the sum Highness, the heavenly spirit and the gloriade the immortal beauty, and to you I owe this great victory".

But this spirituality expressed in language taken from the mystical tradition does not discard sensuality. In this sense, Herrera reflects the thinking of the neoplatonic philosophers who, like Plotinus, were an acceptable way to express loving feelings in sexual contact. In his poetry, we find reference to kissing as a way of expressing that communication should be established between the lovers.

The work that best reflects the herrerian rapport with the petrarquista poetic world is some works, poems published in 1582 in Seville. In this book, Herrera perfectly assimilated the meaning of the Canzoniere as love story; to such an extent that assimilation occurred that Gallego Morell considered reduced "Cancionero in honor of Madonna Leonor". There are several points of contact between both songbooks: firstly, the poems follow a sequence narrative and not chronological; Secondly, heroico-patrioticos and eulogistic poems are inserted to define the personality and the historical moment of the writer; Thirdly, there are alternation of metric forms, and, finally, appears a single beloved, fixed in paronyms. The main feature of this song is its concept of love story. The first point to note is the truth or fiction of the herrerian passion for Doña Leonor de Milán. Since the Cancionero de Baena called the real poet "that always prepares and will pretend to be in love". The neoplatonic filografos repeated the same idea; León Hebreo wrote that "in the world it does not be who lacks love". Therefore love manifesting into your light Herrera is a literary love, lived in poetry. The Sevillian poet, to follow the petrarquista literary tradition continued in Spain by Garcilaso, needed to create a loved one that compitiese with the Laura of Petrarca or garcilasiana Isabel. Why was light, alter ego literary of Doña Leonor de Milán, as a center of the poetic universe Herrera.

This love story begins, according to the petrarquista Canyon, with a soneto-prologo written from sentimental and human maturity and awareness of having erred in his passion. But unlike Petrarch, who writes his poem from an already overcome passion and with a moralistic intention, Herrera is immersed in his own and does not show any desire to claudication: "still at last my anger, because I moved / isn't already, honor or fair that s' estimate / so bad of who as well yielded his chest". This first poem already shows the two passions ranging to live along the poetry book: courage and fear. What is missing in this first stage of the love story is the reference to the circumstances in which there was the first meeting between the poet and his beloved; poem, you should remember to the "was il giorno ch' Sun if scoloraro" petrarquista. That Yes, Herrera serves the topics of the Florentine to narrate its accountability: ice, is overcome by the fire that the beloved, and the poet burns in the miserable and cheated, without hope.

The first part of the book is dominated by an attitude of supplication; Herrera beloved implores his attention, his gaze, as a means of alleviating their torment: "your light comes back to me, back your eyes, / before that be dark in a blind fog". But the expected answer does not arrive. These poems are a long monologue; There is no communication between the poet and his beloved; It has no voice, is the only recipient of the bitter complaints of her lover. The silence is only broken in Elegy III, the loving narrative climax, when light declares his love and the torments that he is suffering. It is the time of the euphoria of the victory of the poet who sees in this way rewarded their torments. To highlight more that feeling of triumph, the poet makes it to coincide with the moment in which the Navy of don Juan de Austria, winner at Lepanto, is anchored in the Seville port.

From this moment on, is given a loving tension between hope and disappointment. This process culminates in the sonnet XXXIII, "burning strands, do s' illustrates gold", which occurs the exaltation of the beauty of the beloved, with allusions to hair, eyes, cheeks, teeth, neck and, finally, to its "angelica harmony". But this tension is soon broken and disappears the hope, leaving him only a lover the memory of fleeting pleasure. To the memory of the glory they accompanied by pain and disappointment to the cruelty of the beloved. Then, used to demonstrate the greatness of his torment, the myth of Prometheus (sonnet XLVI), though his ordeal is more painful than this mythological hero, since it is his heart that is eaten and there is no Hercules that can free him. From here the poet, who aims to regain their freedom, is immersed in a struggle between reason and passion, which causes great confusion that is only released in the final sonnet. In it Herrera tells the rupture of his poetic self with love:

"No more; Suffice it, cruel, already in so many anosrendido have the tree neck to the yoke, and having seen in the end your madness.

Open the light mist to your delusions, rather than tie break time, and muertosea the slow ice my fire".

This composition closes the herreriano Songbook. But missing the poems in morte. We do not know the reason for this absence; Perhaps they were never written or Yes they were, but it is an anthology of his poetic production could be out.

Another poetic current that tried to love was the Castilian cancioneril poetry of the 15th century, whose best example is the Cancionero general of Hernando de el Castillo, printed for the first time in 1511, but that it remained in the Castilian poetic tradition of the 16th century. Two were the reasons that moved Herrera to continue this tradition: on the one hand, the Renaissance idea of continuing a national tradition; on the other, the desire to demonstrate his perfect mastery of technical Poetics, necessary to develop this type of poetry which sought formal virtuosity. The two sides, the petrarquista and the cancioneril, do not represent two opposite poles, but they are complementary; each of them will influence the other, although both retain their distinctive characteristics. The difference that separates both trends is in the sense that the poet is able to communicate through them. In his work petrarquista there is a passion lived, even though it is literary, element missing in his poetry in Castilian metres. The reader does not feel the vital authenticity in these poems; everything seems to become a mere poetic play, in the quest for formal perfection. Herrera joined this poetry its humanistic knowledge and his extensive knowledge of the work of the poets of the 15th century, but does not penetrate into the poetry, does not leave his personal mark, his own emotions. It reflects, on the other hand, compliant way the rules of courtly love. Thus, concepts such as love considered as service to the beloved lover, secret, the Lady presented as the "belle Dame sans merci", the struggle between reason and passion that ends with the triumph of the second, are rescued by Herrera in these poems.

Another poetic sheds that went through was the heroico-patriotica poetry. The reasons that did address this type were two: first, by the tradition of the petrarquista canzoniere, serving it to fix the historical temporality of the vicissitudes of love; Secondly, because the epic poetry, since Aristotle's Poetics, was considered as the most prestigious genre. The own Herrera refers to this last cause in one of his poems, which acknowledges the superiority of the epic work of Homer or Virgil on love of Tibullus, although in the poem poetry recognizes the impossibility to set aside its inspiration from his beloved. On the other hand, in his poems we find a mixture of heroic en la poesía amatoria and lyrical in the heroic, as a symbol of a conception which noted both processes as equally glorious. Herrera was aware of the pindarico concept of poetry as inmortalizadora of the heroic deeds, and therefore undertook, within the Nationalist fervor of the Renaissance, the work of rescuing from oblivion the exploits of some Spanish medieval heroes: Pelayo, Fernán González, el Cid, Gonzalo Fernández de Córdoba. But the enumeration and exaltation are not stopped in the past, but that among all the heroes emerges the figure of don Juan de Austria, the Victor of Lepanto. Also wrote well of Carlos V and Felipe II, who praises for its fights against the enemies of God, within the concept of the era that saw the head of Christianity in Spain.

Scholars of the work of Herrera appreciated in this poetic genre a gradual progression from the predominant appearance of mythological motifs to a complete Christianization, represented by the exclusive use of biblical motifs and themes. This progression is not linear, since the intermediate milestone ("song to the Holy King don Fernando"), in which the mythological elements are disappearing, it was written almost ten years later than the "song in praise of the Divine Majesty, by the victory of Mr don Juan", which represents the triumph of the Christianization of this poetry. The two most important poems in this genre are "Let us sing to the Lord, in the plain", dedicated to the victory of Lepanto, and "Voice of pain and groaning chant", that narrates the Portuguese disaster in Ksar el-Kebir (see battle of Alcazarquivir). The two compositions reflect the Spanish spirit of the Counter-Reformation, in which a strong patriotic feeling and a severe religiosity are attached. In both appears to dominate the narrative the magnificent figure of God; of a Warrior God who imparts Justice against the enemies of faith: "you, God of battles, you're right, / health and our glory". However, this Warrior and unforgiving God punishes not only the enemies of the faith, but who also does it with bad Christians; thus explains the defeat of the Portuguese King don Sebastián against the Moors in North Africa, although the poem ends with a warning for Arab winners: "which if the just pain moves to revenge / once the Spanish courage, / torn with sharp spear, / you compensarás, dying, the fact contempt".

Fernando de Herrera: the victory of Lepanto.

The same poetic tradition that forced Herrera to compose poems of heroic theme also obliged him to write eulogistic poems. Theorists of literature of the 16th and 17TH centuries supported this practice, considering that the praise was one of the basic functions of the poetic art. It was also based on a tradition that had its roots in Greco-Roman literature, which had been continued in the middle ages and was equipped with a new meaning by the Renaissance. This new meaning was in the Renaissance revitalization of the idea of Fame, which contributed to the rise of the panegirica literature. According to this tradition, the poet was immortalise their friends and contemporaries heroes. The problem that we face when analyzing the laudatory poetry of Herrera is the set precise limits between it and the heroic; the poems that are highlighted the merits of the generals or the Spanish soldiers reflect ideas that can fit into any of the two categories of poetic: on the one hand, there is in them a praise to the individual virtues of the celebrated character; on the other hand, these values represent the embodiment of the political ideals and religious of the collectivity. Classical rhetoric codified facts and characters that deserve to be praised by poets with the common feature of their illustrious image. Many are the types included in this laudatory poetry, although a small number of them is found in the work of Herrera: epithalamic, propempticos, consolatorios and encomiasticos. In his poetry, constitute the largest group those that are praised the virtues of their friends or protectors; i.e., the encomiasticos, which the poet tries to enumerate the virtues of the character and, at the same time, tries to move readers. Thus, the poems dedicated to Doña Francisca de Córdoba, Marchioness of Gibraleón, or don Melchor Maldonado, Knight of the order of Santiago are in the encomiasticos group. Another of the types cultivated is the consolatorio (Elegies, train, lays, epicedios). Unite here the description of the qualities of the dead friend, the conception of the world as a valley of tears and the consolatio; representative examples of this group are: Elegy on the death of don Pedro de Zúñiga, dedicated to Luis Ponce de León or the composition that mourns the death of his teacher and friend Juan de Mal Lara, that leaves evidence of the ties that unite them: "my soul died the most". The last of the groups that addressed is the epitalamica poetry, which was dedicated to the celebration of the nuptials with the praise of the husbands, of families, of the virtues of the intending spouses, etc.; the most interesting example of Herrera is the poem that he composed on the occasion of the marriage of the Marquis of Tarifa, where praise to groom includes the reference to his glorious ancestors and their virtues, and in the case of the bride is presented it, following neoplatonic philosophy as light to guide the lover to the spheres of heavenhelping him to rise above the darkness.

The poetics of Herrera

Fernando de Herrera was not limited to writing poetry, but he also devoted himself to studying poetry. This theoretical concern has left us important examples: annotations, the answer to del prete Jacopin, and reviews into their poems has. To these works should be added that poetic art which stayed in project. In these works, Herrera presents his ideas about the literary theories of poetic language, different genres, metric forms, from classical poets and contemporaries. But we are not among their ideas, their original concepts comments; He summarizes different literary traditions filtered through Julio César Scaliger and uses the terminology of rhetoric, as it already happened since classical antiquity.

The process of poetic creation Herrera is torn between hobby or inspiration Platonic and Aristotelian reflection. In several passages of his works seems to embrace the Platonic doctrine of divine inspiration as efficient cause of poetry, but ends up imposing their conception his intellectualism and the work of art becomes a made object. The rules of the art are which are imposed in its poetic concept according to the Mannerist. Art is the guide of the artist; It is the triumph of the Aristotelian mimesis. Herrera continues the tradition of imitation that had emerged already in Horacio, who defended the multiple imitation or the famous phrase of Seneca: "Apes, aiunt, debemus imitari ut". But also follows the concept humanist who recognized the artistic value of the imitation as a sample of poetic wisdom and respect for cultured tradition. In Herrera dissatisfaction manifests to the received tradition, which launches him to the search for new concepts and elements of poetry, as it manifests itself in his annotations: "not all the thoughts and considerations of love, and the more things that touches the poetry fell into the mind of the Petrarca and the Bembo and the ancient". Therefore, the proposal of the Sevillian consists of a personal voice that combines reception of the poetic achievements of the previous writers - mimesis - with their own findings. This personal voice scholarship is one way to achieve. For Herrera, the poet must possess extensive knowledge in the various sciences. In this way, explains the abundance of scholars in his annotations data, perfect vehicle to demonstrate his intellectual stature. In her poetry are also multiple references to classical mythology, geography, philosophy, medicine, history, astrology, etc. They should join their extensive knowledge of rhetoric and Poetics, as well as classical and modern literature primarily from the Italian. Within this context of scholar you can place the creation of his own spelling system.

For Herrera, as good Mannerist, essential poetry is reflect the beauty, which is the transcript of the divine. Therefore, an important concept is that of admiration; Therefore the field of poetry is limited to causing a sense of wonder in the poet: the beauty of a woman, the grandeur of a battle, the exploits of a hero. To awaken this admiration Herrera choose very carefully the words that will describe the beautiful; i.e., there must be a perfect match between the language and the subject. He rejects the maxim of Juan Valdés of the "I write as I speak": for Herrera, literary language is autonomous and fully differentiated from common speech. But that doesn't mean complication; language should not obscure the ideas, but must, on the contrary, clarify them. For him, the Spanish has reached maturity and flexibility necessary to convey poetic concepts: following the path started by Nebrija, is proud of the inherited language, although it does not reject the incorporation of foreign words provided that it is done with an intention of enriching.

The herrerian poetics had as a aims the pursuit of beauty and desire to move the reader. Both are gotten through a great concern stylistic, a poet for whom poetry is not only feeling, but also aesthetic pleasure. His poetry is torn between the creation of a poem of pure forms, through the use of "severe words, which do not deviate from the common use", and the darkening occurred in the expression references to philosophical ideas, historical events, or geographical locations, making it impossible for the vulgar. The herrerian style reflects a search for a new poetic language, which continues the legacy of Garcilaso and which will culminate in the culteranismo of don Luis de Góngora. One of the salient features of this new poetic language is the abundance of metaphors, to such an extent that it has come to speak of his poetry "resembles a metaphorical verbena". The use of this trope is part of the Mannerist style. Herrerian metaphor appeals above all to view, the organ used to grasp better the world of beauty that the figure moves. Two other features of the metaphorical use of the poet are: the absence of any kind of comparative particle, and its simplicity. Adjectives help intensify the sensory world created by metaphors. Garcilaso had maintained the balance between the noun and the adjective, Herrera breaks it in favour of the latter. Are the traditional types of epithets in his poetry: the typical ("Red Sun", "bright sky"); Select, nuanced and antithetical ("strong and beligeros males","Cerulean sea"); emphatic ("pure Star", "serene beauty"); epithets in metaphors and periphrasis ("of the hispid loops burning d'Oro"), and, finally, those cases in which nouns and nominal lead several adjectives; such is the case of the type, which already appears in Garcilaso, epithet + and + epithet ("with the clear Spanish and bellicose").

The figures used by Herrera's repertoire is extremely varied. In poetry in Castilian meters continues the conceptual tradition of cancioneril poetry who delights in the linguistic brain games. The antithesis, paradoxes, and the opposite which serve the poet to display the State of confusion that is abound. Other figures that appear in these poems are: the poliptotos and the Parallels. The Italianate tradition poetry also abounds in rhetorical figures. It should be noted the use of those which allow, on the one hand, express your loving pain and confusion, and, on the other hand, emphasize his verses. The two functions do: the prosopopeia, the apostrophe and the invocation, the exclamation point and polling rhetorical; as well as certain formal resources: anaphora, syneresis, synal PHA, diaeresis and umlaut. Also gives special attention to the values of the sound, looking for the adequacy between the word and its meaning through the symbolic value of letters, of the antirritmicas sequences and alliteration.

Also the encabalgamiento, has great importance in his work for the freedom of expression granted to poets. With profusion appear in his verse the hiperbatos of different kinds: separation noun and adjective; prepending the genitive case, or any other word preceded by, to the word that relies on, and, finally, a noun with two adjectives attributes, one of which is prepended and the other was postponed. The Greek accusative is also included in this group. Other figures are: the periphrasis, educated allusions and mythological quotations.

The character of architect Herrera works the rhetorical figures with which is also reflected in the lexical field. Here tries to combine tradition and innovation: open language to foreign influences (jargon and neologisms) and retrieve those words discarded by the common use (archaisms). The emergence of the jargon in Herrera has two causes: first, the scholarly concept of his Poetics, which should find new words with a classical origin; the second, their nationalism, which took him to approach the Spanish into latin, the universal language of culture. Some of the jargon introduced by Herrera today form part of our vocabulary: "abundance", "OK", "fun", "eloquent", "spacious", "habit", etc. The same causes prompted him to introduce lots of neologisms. The archaisms were used for two reasons: give a whistle from antiquity to the verses, and, for the educated reader, denote erudition and novelty. The most used are: "burning", "crespo", "tree", "ledo", "proud", "ufanía".

The aspect of the poetry of Herrera more controversy has aroused is, without a doubt, the degree of intervention of Francisco Pacheco in the edition of the verses of Fernando de Herrera, who was born in Seville of Gabriel Ramos Vejarano, 1619 in presses, although the approval, and privilege are dated in 1617; It is what has been termed as the "textual drama". The poet's death, much of his papers were lost or were scattered. Therefore, Pacheco had to serve for his edition of the manuscripts and loose papers that could rescue among the friends of the poet and collectors. This edition presents variations in language, the style and the structure of some poems, which drive away enough of some works and, even, previous to this anthology poems, preserved in manuscripts. The problem that arises is to know whether Pacheco was limited to copy poems as they appeared in manuscripts that used or, on the contrary, altered them. Most of the critics defend the last option: Pacheco get rid of poems published. This conclusion has been reached by a series of important details: the arcaizacion of the language, with the appearance of words such as "conhortar", "fringes", "cuitoso" or "yusano", of which there is no example in some works; the division into three books, which, according to contemporaries of Pacheco, is the editor and not the poet; the fact that six sonnets appear copied twice and be omitted three of which appear on some works; the dubious authorship of the "preface" that opens the edition of Pacheco; the fact that a verse Elegy VIII of book I of verses show influences from one of the Góngora Luis Polifemo; and the deletions of proper names in some poems and stanzas in others.

The works of Garci Lasso de la Vega with anotaciones de Fernando de Herrera were published in 1580, although it seems it already worked on it before 1571. This comment and editing the works of Garcilaso was not the first to be published, honor corresponding to el Brocense, that had removed his in Salamanca in 1577, under the title of works of the great poet Garci - Lasso de la Vega. With annotations and amendments to the master Francisco Sánchez. However, Herrera never mentions his annotations of the work of Professor Salamanca. The work of the Sevillian poet is not limited to scholarly commentary on the poems of Garcilaso, but is its first function debugging and correction of texts, fact that prides itself, claiming to be the first that has carried out such a task. Your interest differs from the statement by el Brocense, which had set the classical sources that Garcilaso, had served while Herrera cares more for the demonstration of the high quality of the garcilasiana poetry that compared to the of the best poets of antiquity, and the establishment of a poetics that is theirs. Trace also, thanks to his erudition, a wide panorama of poetic genres and its history, the value of the metric shapes (and here we must highlight the words dedicated to the sonnet), the prescriptive classical and Italian women of her time, and provides critical judgments on Spanish and Italian writers.


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