163:." What is noteworthy in this context is not only Medrano's adept handling of the interplay between negative and positive aspects but, more importantly, the carefully chosen vocabulary employed to express this nuanced process. During the early 17th century, Andalusian poets demonstrated a remarkable skill that contributed to the development of what could be termed a 'new classicism,' indirectly influencing Herrera's peripheral involvement in this movement. An influential figure in this context is the former Jesuit, Francisco de Medrano, who "penned the majority of his poems in Seville during the last five years of his life."
141:
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197:). Historians note Medrano's entire poem, akin to others, "remarkably reproduces what Damaso Alonso refers to as the 'rhythm of thought' from the original with exceptional fidelity." While prior translators typically aim for a literal rendition, Medrano "frequently excises entire passages or occasionally combines parts of two separate odes within the same poem."
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characteristic cynicism and what he terms
Medrano's essential honesty." Despite departing from his original, Medrano consistently holds the example of Horace in high regard, and the quality of his best sonnets, suggests a robust independent talent that doesn't rely on obvious models to assert itself. What appears certain, however, is the "conscious '
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The second deviation is when
Medrano systematically eliminates or simplifies elements that a seventeenth-century poet might perceive as 'dead matter' such as references to ancient Rome. Alternatively, he replaces original references with contemporary ones. For instance, in one of Medrano's poems, he
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While many of
Medrano's versions of the Odes demonstrate remarkable fidelity, labeling him merely as a 'translator' overlooks the exceptional accomplishment inherent in these poems. The concept of 'originality' in the realm of translations may seem paradoxical, yet Medrano's reinterpretations of
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from the sixteenth century onward, served as a significant source. Medrano stands out as "one of the final and most brilliant figures in a lineage of translators, a group that includes Luis de Leon (1527-91), a prominent poet from an earlier period, and various minor
Sevillian poets featured in
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Historians of poetry are impressed by
Medrano's adept use of short lines and his ability to keep the natural flow of the original text; Medrano "remains remarkably faithful to what he perceives as the spirit of Horace." Damaso Alonso highlights, "there is an evident disparity between Horace's
63:
Medrano was born in
Seville 1570. He was the son of Don Miguel de Medrano and Doña María de Villa. He entered the Society of Jesus and was ordained a priest in 1594. He abandoned the order in 1602 and died in his hometown 1607.
128:, there is a great difference between them. Léon's ode departs from the original of Horace, while Medrano's is an imitation of the latter so close as to amount almost to a translation. The poems of Medrano are reprinted in
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On the other hand, Medrano's love sonnets, while mainly following a recognizable
Petrarchan pattern, demonstrate "a unique ability to explore intimate relationships with a freshness reminiscent of
185:, had appeared as the closest equivalent to the Horatian strophe, and notably, to attempt to capture the essence of Horace's succinct final lines. Thus, the conclusion of Ode 1, xxii ('
152:)' represent a small yet impactful aspect of his literary work. These moral sonnets exude a Latin gravitas "reminiscent of the Argensolas and occasionally anticipate the style of
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of his time. Among the odes of
Medrano, his "La profecia del Tajo" is very similar to one of Luis de León of the same title. Although both are based upon Horace's ode to
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In as much as the sky multiplies its turns, so that the sun sends light to the world, I will love Flora, the one who sweetly laughs, the one who sweetly converses.
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The
Sonnets of Henry Wadsworth Longfellow. Arranged with an Introduction by Ferris Greenslet, Hiughton, Mifflin and Company, Boston and New York 1907, p. 81.
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Horace deviate in two crucial ways from earlier renditions, underscoring the creative ingenuity that distinguishes him from his peers:
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who was also a poet and lived at about the same time. He belongs to the house of
Medrano, a well-known and ancient
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https://apps.rae.es/BRAE_DB_PDF/TOMO_XLIX/CLXXXVIII/Homenaje_MenendezPidal_RodriguezMo%C3%B1ino_495_550.pdf
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from the sixteenth and seventeenth centuries, considered one of the best of the Spanish imitators of
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The first deviation is formal, involving the choice to discard the lira-type stanza, which, for
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116:. Endowed with literary taste, he writes in good Spanish, and his style is free from the
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Manuel Mañas Núñez, Horacio (Oda 2, 16) en Francisco de Medrano (Oda XXIV) (in Spanish).
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What worries, Flavio, are these? What heaps of different troubles assail me?
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Integer vitae scelerisque purus...'; The man of upright life, free of guilt
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What wise man would exchange Amaryllis's hair for all the Inca's treasure?
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Two sonnets by Francisco de Medrano were translated into English by
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Francisco de Medrano, Sonetos. Editados por Ramón García González.
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411:. Cambridge: Cambridge University Press. pp. 124–125.
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I shall love sweetly smiling, sweetly chattering Lalage
534:. Cambridge: Cambridge University Press. p. 127.
507:. Cambridge: Cambridge University Press. p. 126.
468:. Cambridge: Cambridge University Press. p. 125.
379:. Cambridge: Cambridge University Press. p. 124.
337:. Cambridge: Cambridge University Press. p. 123.
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Medrano's moral sonnets like the one beginning with '(
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Srancisco de Medrano's sonnets at Golden Age Sonnets.
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Horace reciting his verses, by Adalbert von Rössler.
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Francisco de Medrano's works at Spanish Wikisource.
108:, Medrano is the best of the Spanish imitators of
598:, vols. XXXII, XXXV, and XLII (Madrid, 1848–86).
433:"Francisco de Medrano - Sus poemas y biografía"
136:Translator and Poet of the Spanish Golden Age
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112:, comparing favorably in that respect with
31:, comparing favorably in that respect with
88:(1617) as an appendix to the imitation of
300:Cervantes, Biblioteca Virtual Miguel de.
255:"MEDRANO - Auñamendi Eusko Entziklopedia"
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306:Biblioteca Virtual Miguel de Cervantes
72:His poetry was influenced by works of
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590:. New York: Robert Appleton Company.
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217:' embedded in Medrano's endeavor."
124:in which he would separate him and
35:. He should not be confounded with
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504:Seventeenth-Century Spanish Poetry
465:Seventeenth-Century Spanish Poetry
408:Seventeenth-Century Spanish Poetry
376:Seventeenth-Century Spanish Poetry
334:Seventeenth-Century Spanish Poetry
169:, a profound influence on Spanish
130:La biblioteca de autores españoles
104:. According to the Spanish critic
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584:". In Herbermann, Charles (ed.).
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358:Romances of Francisco de Medrano
596:Biblioteca de autores españoles
189:) in Medrano's version reads: "
259:aunamendi.eusko-ikaskuntza.eus
37:Sebastian Francisco de Medrano
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17:Francisco de Medrano y Villa
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580:Fuentes, Ventura (1913). "
227:Henry Wadsworth Longfellow
98:Pedro Venegas de Saavedra
360:, Royal Spanish Academy
174:Herrera's Anotaciones."
437:www.poemas-del-alma.com
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43:family originally from
528:Terry, Arthur (1993).
501:Terry, Arthur (1993).
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278:Francisco de Medrano.
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23:, 1570 - 1607) was a
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488:Ode XII; DA, p. 233
80:. He wrote chiefly
668:Spanish male poets
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53:Spanish Golden Age
49:Kingdom of Navarre
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241:References
215:classicism
25:lyric poet
302:"Sonetos"
126:Cleopatra
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