El comentario de García de Salcedo Coronel al "Panegírico al duque de Lerma" de Luis de Góngoratradición clásica y filología en el Siglo de Oro

Abstract

The considerable polemic that had been brewing in the Spanish literary orbit at the beginning of the 17th century, awoken by the popularization of Soledades by Luis de Góngora, would drown the academic literary world in a fierce dispute that would engage those that favored the innovative poetic language of Góngora and those that, faithful to tradition, would stand against the obscurity of that “new lyric”. Of the initial discussion, that would linger for years and that would grant us important testimonies, the literary review has been able to recover a wide variety of manuscripts and printed documents of those who wanted to contribute to the conversation —from letters, annotations, poetic essays, and speeches to commentaries that presented the Gongorian verses— defending the poet’s lyric in a late debate. The figure of the reviewer, that had gained relevance with personalities such as Father Luis de la Cerda or Fernando de Herrera —with his comments on Virgil and his works on the lyric of Garcilaso, respectively—, would attain new life through names like Manuel Serrano de Paz, José de Pellicer, Martín de Vázquez Siruela or José García de Salcedo Coronel, whose work compiles and studies at length almost the entirety of the production of the Cordoban master, centering around the importance of the imitatio. Of all the comments of José García de Salcedo Coronel, this thesis focuses on the editing and study of the ones he made on the Panegírico al duque de Lerma, that unfinished commendation to the royal favorite of Felipe III the Cordoban poet wrote in a last attempt at surviving in the court. While briefly contextualizing the Gongorian lyric and the Sevillian reviewer’s part in the conversation thereof, we witness a life punctuated by travel and spent in service to the crown, and an unfinished literary production focused on lyric and humanistic commentary that is tightly intertwined with his friendships, acquaintances and connections with other scholars of the moment. Is in those intersections where the dissonances that surrounded him are most conspicuous. The last part of this thesis holds the critical edition, where the present reviewer continues to adhere to the paradigm of his previous printed documents on the Gongorian lyric —characterized by the use and reference to classical sources, the invocation of old authorities to sustain his testimonies, and bountiful passages of humanistic erudition—. His words granted us the opportunity to recover several of the documents he worked with and that could have even been part of his personal library.