the Marqués de Santillana Íñigo López de Mendoza Criticism - Essay

David William Foster (essay date September 1967)

(Literary Criticism (1400-1800))

SOURCE: Foster, David William. “Sonnet XIV of the Marqués de Santillana and the Waning of the Middle Ages.” Hispania 50, no. 3 (September 1967): 442-46.

[In the following essay, Foster views Santillana's use of religious imagery in a secular poem as reflective of a larger movement toward secularization in fifteenth-century Spain.]

Johan Huizinga, discussing the secularization of the topoi of religious praise in his study The Waning of the Middle Ages, observes:

While religious symbolism represented the realities of nature and history as symbols or emblems of salvation, on the other hand religious metaphors were borrowed...

(The entire section is 3333 words.)

David William Foster (essay date 1971)

(Literary Criticism (1400-1800))

SOURCE: Foster, David William. “Works on the Nature of Man and Fortune.” In The Marqués de Santillana, pp. 19-47. New York: Twayne Publishers, 1971.

[In the following essay, Foster examines the Comedieta de Ponça, Bías Contra Fortuna, the Doctrinal de Privados, and other works by Santillana that treat philosophical subjects.]

I COMEDIETA DE PONçA (COMEDY OF PONZA)

In 1435, King Alfonso V of Aragon suffered a decisive defeat at the hands of the Genoese in the naval battle of Gaeta, off the island of Ponza in the Mediterranean. Alfonso and his brothers, Juan, King of Navarra, and Enrique, Maestre de Santiago,...

(The entire section is 12219 words.)

A. J. Foreman (essay date 1974)

(Literary Criticism (1400-1800))

SOURCE: Foreman, A. J. “The Structure and Content of Santillana's Comedieta de Ponça.Bulletin of Hispanic Studies 51 (1974): 109-24.

[In the following essay, Foreman analyzes the structure and historical content of the Comedieta de Ponça and compares it to Santillana's earlier works.]

The Comedieta de Ponça is the most ambitious of the Marqués de Santillana's narrative dezires in its length, its use of latinate syntax and diction, and its national, as well as personal, preoccupations.1 It is probably also the last one that he wrote for twenty years.2 It is more than just a culmination, however, for it embodies...

(The entire section is 6591 words.)

Derek C. Carr (essay date 1978)

(Literary Criticism (1400-1800))

SOURCE: Carr, Derek C. “Another Look at the Metrics of Santillana's Sonnets.”1Hispanic Review 46 (1978): 41-53.

[In the following essay, Carr questions the notion that Santillana's sonnet writing was a deliberate, yet unsuccessful, attempt to introduce Italian meter into Spain and suggests instead that the poems reveal elements alien to their supposed Italian models in both form and content.]

Gerald Brenan, in his Literature of the Spanish People, has dedicated one sentence to the sonnets of the Marqués: “In his sonnets … [Santillana] was moderately successful in introducing the Italian hendecasyllable.”2 This statement sums up...

(The entire section is 5099 words.)

Michele S. de Cruz-Saenz (essay date spring 1981)

(Literary Criticism (1400-1800))

SOURCE: de Cruz-Saenz, Michele S. “The Marqués De Santillana's Coplas on Don Alvaro de Luna and the Doctrinal de privados.Hispanic Review 49, no. 2 (spring 1981): 219-24.

[In the following essay, Cruz-Saenz attempts to ascertain the relationship between Santillana's coplas on Don Alvaro De Luna and the Doctrinal de Privados.]

In 1900, as Francisco de Uhagón was comparing the privately-owned Cancionero de Oñate-Castañeda with other cancionero manuscripts, he noticed a poem not included by Amador de los Ríos when he published this same cancionero in 1852. This poem, entitled “Otras coplas del dicho ssenor Marques sobrel...

(The entire section is 1797 words.)

Nancy F. Marino (essay date spring 1986)

(Literary Criticism (1400-1800))

SOURCE: Marino, Nancy F. “The Vaquera de la Finojosa: Was She a Vision?” Romance Notes 26, no. 3 (spring 1986): 261-68.

[In the following essay, Marino suggests that, in contrast to the realism found in most of Santillana's serranillas, one in particular might portray a vision he had during one of his journeys.]

The Marqués de Santillana's serranillas recount his supposed adventures with various mountain girls that he claims to have met while traveling throughout Spain, usually on military missions that took him from Cordoba to Granada, to the Aragonese border and back home to Castile.1 As Rafael Lapesa points out in his early study...

(The entire section is 2655 words.)

Mary Louise Trivison (essay date 1991)

(Literary Criticism (1400-1800))

SOURCE: Trivison, Mary Louise. “A Pilgrim Poem of the Marqués de Santillana: Resumé of Medieval Marian Lyric.” In Estudios Alfonsinos Y Otros Escritos, edited by Nicolás Toscano Liria, pp. 246-53. New York: National Endowment for the Humanities/National Hispanic Foundation for the Humanities, 1991.

[In the following essay, Trivison relates Santillana's poem “Dominosa gloriosa” to lyric tradition in Spain.]

Enroute to his castle as he travelled from battle with the Moors, fighting on behalf of Henry IV of Castile, the Marqués de Santillana, Iñigo López de Mendoza, stopped at the shrine of Our Lady of Guadalupe in Estremadura to thank her for Castile's...

(The entire section is 2989 words.)

Laura R. Bass (essay date fall 1996)

(Literary Criticism (1400-1800))

SOURCE: Bass, Laura R. “Crossing Borders: Gender, Geography and Class Relations in Three Serranillas of the Marqués de Santillana.” La corónica: A Journal of Medieval Spanish Language and Literature 25, no. 1 (fall 1996): 69-84.

[In the following essay, Bass investigates the “symbolic significance of geography in three serranillas, arguing that “Santillana places his male persona within the landscapes of the poems to metaphorically configure the boundaries of aristocratic masculine authority.”]

One of the most salient and innovative features of the serranillas of Íñigo López de Mendoza, the Marqués de Santillana, is their geographic...

(The entire section is 6838 words.)