Celebrating the Spanish Renaissance's greatest poems and offering a new appreciation of Spain's "Golden Age, " Edith Grossman turns her passionate fervor and stylistic brilliance to the works of Jorge Manrique; Garcilaso de la Vega, a soldier and courtier who wrote love poetry; Fray Luis de Le�n, a converso Jew; San Juan de la Cruz, whose poems are the finest exemplars of Christian mysticism; Luis de G�ngora, a great sensualist; Lope de Vega, Cervantes' rival; Francisco de Quevedo, the ultimate Baroque poet; and Sor ...
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Celebrating the Spanish Renaissance's greatest poems and offering a new appreciation of Spain's "Golden Age, " Edith Grossman turns her passionate fervor and stylistic brilliance to the works of Jorge Manrique; Garcilaso de la Vega, a soldier and courtier who wrote love poetry; Fray Luis de Le�n, a converso Jew; San Juan de la Cruz, whose poems are the finest exemplars of Christian mysticism; Luis de G�ngora, a great sensualist; Lope de Vega, Cervantes' rival; Francisco de Quevedo, the ultimate Baroque poet; and Sor Juana In�s de la Cruz, the nun whose haunting poetry embodied the voice of Mexico. Through these glorious voices, presented in facing-page Spanish and English, The Golden Age offers a new way to connect with the literary heritage of the Spanish-speaking world.
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Edith Grossman?s selection of Spanish Renaissance poetry is a fine introduction to the subject, albeit a small selection. Grossman presents secular and sacred works by several major Spanish poets, often resembling the English ?metaphysical? poets in themes. Billy Collins, who wrote the Introduction, actually calls this the baroque period. The poets featured are Jorge Manrique, Garcileso de la Vega, Fray Luis de Leon, San Juan de la Cruz, Luis de Gongora, Lope de Vega, Francisco de Quevedo, Sor Juana Ines de la Cruz.
Lope de Vega, the most prolific writer, stands out for his polish and humor. Writers will enjoy his ?Instant Sonnet,? a self-referential poem. His ?Holy Sonnet I? is exemplary for the smooth combination of pagan myth and Christian belief, a paradigm of the Renaissance not always expressed so well.
The small number of poems is necessary to present a bilingual book. The Spanish originals are useful for understanding the forms, as they are written in meter and rhyme, such as the strict sonnet. The English translations do not keep the forms completely.
This hardcover edition looks nice; it is not an academic work, though published by W. W. Norton. Grossman adds only a few basic footnotes. The print and spacing is easy to read.
