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Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper the author studies a romance of Quevedo applying the method of traditional philology and neo-lachmannian for the fixation of his text. He provides two main sources that the author used: a passage from Leandro by Juan Boscán and the first romance of El caballero de Olmedo, also published in the Primavera y flor de los mejores romances (Madrid, 1621). He even suggests a date for the romance of Quevedo putting it in relation with another sonnet #171;En crespa tempestad del oro undoso». [ABSTRACT FROM AUTHOR]

This paper describes and studies a new codex with works by Quevedo in prose and verse. This manuscript was copied in the XVIIIth Century and it is preserved in good conditíon in the Real Academia de Buenas Letras of Barcelona, as a pan of Guillermo Díaz-Plaja's legacy. It shows different works: historical prose, burlesque and satirical production, some love and moral poetry and a diversity of authentic and attributed works. The author considers this manuscript is very similar to others of the same period used to determine the text of different works. A first collation makes clear that it is not a codex descriptus and it can provide interesting texts and variants. Its text of Vida de la corte, fragments of Mundo caduco and readings of some poems (included in an appendix) are relevant. [ABSTRACT FROM AUTHOR]

The aim of this paper is to clarify the meaning of a couple of lines in Quevedo's «Epístola satírica y censoria»: «la vista por dos unías derramada / sobre las aras de las dos Castillas» (vv. 29-30). With this in mind, the symbolic meaning of both «urns» and «altars» is analysed in the context of the poetry of the period; and the history of the literary themes and traditions behind these images is also looked into [ABSTRACT FROM AUTHOR]

This paper proves that Quevedo considered the village of Torre de Juan Abad as his own home, as it is seen in his letters. The author examines methodically these letters to show the evolution of Quevedo's feeling towards his village since January of 1622. We find a writer stressed by the exhausting atmosphere of the Court. He tried to avoid it escaping to his village, where he could read and write in tranquillity. This analysis is completed with a study of some poems that could be written in his village. [ABSTRACT FROM AUTHOR]

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)