Flashcards in golden age ballad Deck (11)
Forster's definition of fundamental petrarchan tradition
'the interpenetration of pleasure and pain, and the satisfaction which could be derived from holding these two opposites in an uneasy balance is basic in Petrarch's word and becomes the fundamental theme of Petrarchanistic convention'
top notch parallelism stanza from mira zaide que te aviso (lope)
'y pierdo mucho en perderte
Y gano mucho en amarte
Y que si nacieras mudo fuera posible adorarte'
Gracían definition of conceit
'es un acto de entendimiento que exprime la correspondencia que se halla entre los objectos'
Gardner on the nature of conceit
'all comparisons discover likeness in things unlike, a comparison becomes a conceit when we are made to concede likeness whilst being strongly conscious of unlikeness'
antomasia in ensillenme el asno rucio
The circumlocutions for Mars is “aquel dios que calza arneses” he who dons armour from time to time. Using this rather than the typcial god of war… dismisses the God as someone who spends as much time in armour as out of it on the romantic campo de batalla.
chiasmus/parallellism in el asno rucio
“al uno redes y brazos, // y al otro brazos y redes” chiasmus, polysyndeton reﬂect entanglement of nets and the writhing of the lovers
lope desengano quote
'mirad no os engane el tiempo
tronco de ovas petrarchanrenaissance imavery
A lot of renaissance/petrarchan imagery
En todo el árbol dos vides entretejían mil lazos -> two vines growing on trunk of tree renaissance symbol of reciprocated lov
5 step summary ensillenme el potro rucio
- We get a list of requests starting with 'ensillenme el asno rucio', without context of the speaker, although the things he request indicate his high status, military position, wealth, nobility (and the name of his lover, Adalifa de la Baza)
- The first half is asking for practical things; high quality and ornamented arms for battle; the second half is more personal requests, for keepsakes
- In line 25 (approx halfway through the ballad) we introduce our protagonist; 'esto dijo el moro Azarque'
- He speaks to his lover, asking her to not be like Venus, who quickly forgets Adonis after his death and takes on many more lovers, mortal and immortal
Tells her to take comfort from his portra
whose adonis (referred to in ensillenme el porto rucio)
Adonis, the lover of Venus, embodiment of male virility and beauty
The depiction of the emblem of Adonis leaving his 'diosa amada' to take to the hunt adds a tragic sub-text to the ballad; Adonis was killed by a wild boar having failed to heed Venus' warning not to set off for the hunt