The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis
Autor(a) principal: | |
---|---|
Data de Publicação: | 2021 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.34624/fb.v0i17.27094 |
Resumo: | It is in the context of the hundred glosses illustrating his Sátira de infelice e felice vida, a kind of sentimental romance for courtly instruction and edification, that D. Pedro de Portugal introduces Narcissus, an exemplum of how “beauty with grace attract good and loyal love”. Despite the frequent allusions and quotations from Ovid’s Metamorphoses, the episode is adapted for the purpose of underlining the author / narrator’s aegritudo amoris at the whimsical hands of Cupid, embodied by the callous lady, whom his heart has to serve, but his reason cannot stop criticizing. Thus, fundamental features of the Ovidian myth and narrative are left out (the oracle, the identification with the reflection, Echo, the flower), replaced by the emphasis given to elements associated with the aulic love rhetoric, heir to the courtly love. The emotional discourse of the dying Narcissus, whose duration contributes to underline the egotistical isolation of the lover, addresses the divine beauty of the woman; the service of love, exhausting and unrequited; the appeal to the pity and the memory of the beloved; the suffering that cul- minates in death. Except for the unusual and impossible love target, the mythical youth ends up in a timeless gallery of male victims of love who, though reciprocated, committed suicide or were murdered after deciding “it is better to die quickly, than for a long time endure and suffer”. The variety in the sources (classic, such as Ovid and Valerius Maximus; and contemporary, such as Juan Rodríguez del Padrón or Alonso Fernández de Madrigal), and the peculiar way of interpreting and adapting the mythical accounts (evemerist, astronomical, allegorical) demonstrate how much D. Pedro identified himself with the still medieval point of view of the learned peninsular elite of the mid-fourteenth century, in which the moralizing tendency of the “Ínclita Geração” and the prehumanism of the court of John II of Castile stand out. |
id |
RCAP_549f9fd5f9a8369b42a29ec7cb16b205 |
---|---|
oai_identifier_str |
oai:proa.ua.pt:article/27094 |
network_acronym_str |
RCAP |
network_name_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository_id_str |
7160 |
spelling |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosisO Narciso do Condestável D. Pedro: aegritudo amoris em metamorfose cortêsIt is in the context of the hundred glosses illustrating his Sátira de infelice e felice vida, a kind of sentimental romance for courtly instruction and edification, that D. Pedro de Portugal introduces Narcissus, an exemplum of how “beauty with grace attract good and loyal love”. Despite the frequent allusions and quotations from Ovid’s Metamorphoses, the episode is adapted for the purpose of underlining the author / narrator’s aegritudo amoris at the whimsical hands of Cupid, embodied by the callous lady, whom his heart has to serve, but his reason cannot stop criticizing. Thus, fundamental features of the Ovidian myth and narrative are left out (the oracle, the identification with the reflection, Echo, the flower), replaced by the emphasis given to elements associated with the aulic love rhetoric, heir to the courtly love. The emotional discourse of the dying Narcissus, whose duration contributes to underline the egotistical isolation of the lover, addresses the divine beauty of the woman; the service of love, exhausting and unrequited; the appeal to the pity and the memory of the beloved; the suffering that cul- minates in death. Except for the unusual and impossible love target, the mythical youth ends up in a timeless gallery of male victims of love who, though reciprocated, committed suicide or were murdered after deciding “it is better to die quickly, than for a long time endure and suffer”. The variety in the sources (classic, such as Ovid and Valerius Maximus; and contemporary, such as Juan Rodríguez del Padrón or Alonso Fernández de Madrigal), and the peculiar way of interpreting and adapting the mythical accounts (evemerist, astronomical, allegorical) demonstrate how much D. Pedro identified himself with the still medieval point of view of the learned peninsular elite of the mid-fourteenth century, in which the moralizing tendency of the “Ínclita Geração” and the prehumanism of the court of John II of Castile stand out.É no contexto da centena de glosas ilustrativas da sua Sátira de infelice e felice vida, espécie de novela sentimental para instrução e edificação áulica, que D. Pedro de Portugal introduz Narciso, exemplum de como “fermosura com gracia atrahen a bien e leal amar”. Apesar das frequentes alusões e citações das Metamorfoses de Ovídio, o episódio é adaptado ao propósito de sublinhar a aegritudo amoris do autor/narrador às mãos caprichosas de Cupido, encarnado pela insensível dama, a quem o coração tem de servir, mas a razão não pode deixar de criticar. Assim, traços fundamentais do mito e da narrativa ovidiana ficam de fora (o oráculo, a identificação com o reflexo, Eco, a flor), substituídos pela ênfase dada a elementos associados à retó- rica amorosa palaciana, herdeira do Amor Cortês. O emotivo discurso do agonizante Narciso, cuja dimensão contribui para sublinhar o isolamento egotístico do amador, aborda a beleza divina da mulher; o serviço amoroso, esgotante e nunca correspondido; a súplica à piedade e à memória da amada; o sofrimento que culmina na morte. Salvo o inusitado e impossível alvo amoroso, o jovem mítico acaba por ser enquadrado numa galeria intemporal de vítimas mas- culinas do amor que, apesar de correspondidos, se suicidaram ou foram assassinados depois de terem decidido “que mejor es prestamente morir, que largamente padesçer y penar”. A variedade nas fontes (clássicas, como Ovídio e Valério Máximo; e contemporâneas, como Juan Rodríguez del Padrón ou Alonso Fernández de Madrigal), e a peculiar forma de interpretar e adaptar os relatos míticos (evemerista, astronómica, alegórica) demonstram o quanto D. Pedro se identificava com o ponto de vista ainda medieval adoptado pelas elites cultas peninsulares de meados de Quatrocentos, em que avultavam a tendência moralizante da Ínclita Geração e o pré-Humanismo da corte de João II de Castela.UA Editora - Universidade de Aveiro2021-12-21info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.34624/fb.v0i17.27094https://doi.org/10.34624/fb.v0i17.27094Forma Breve; No 17 (2021): Olhares de Narciso: egotismo e alienação; 57-70Forma Breve; n.º 17 (2021): Olhares de Narciso: egotismo e alienação; 57-702183-47091645-927Xreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://proa.ua.pt/index.php/formabreve/article/view/27094https://proa.ua.pt/index.php/formabreve/article/view/27094/19669Direitos de Autor (c) 2021 Maria José Ferreira Lopeshttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessLopes, Maria José Ferreira2023-11-23T18:47:16Zoai:proa.ua.pt:article/27094Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:03:20.360641Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis O Narciso do Condestável D. Pedro: aegritudo amoris em metamorfose cortês |
title |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis |
spellingShingle |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis Lopes, Maria José Ferreira |
title_short |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis |
title_full |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis |
title_fullStr |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis |
title_full_unstemmed |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis |
title_sort |
The Narcissus of the Constable D. Pedro: aegritudo amoris with a courtly metamorphosis |
author |
Lopes, Maria José Ferreira |
author_facet |
Lopes, Maria José Ferreira |
author_role |
author |
dc.contributor.author.fl_str_mv |
Lopes, Maria José Ferreira |
description |
It is in the context of the hundred glosses illustrating his Sátira de infelice e felice vida, a kind of sentimental romance for courtly instruction and edification, that D. Pedro de Portugal introduces Narcissus, an exemplum of how “beauty with grace attract good and loyal love”. Despite the frequent allusions and quotations from Ovid’s Metamorphoses, the episode is adapted for the purpose of underlining the author / narrator’s aegritudo amoris at the whimsical hands of Cupid, embodied by the callous lady, whom his heart has to serve, but his reason cannot stop criticizing. Thus, fundamental features of the Ovidian myth and narrative are left out (the oracle, the identification with the reflection, Echo, the flower), replaced by the emphasis given to elements associated with the aulic love rhetoric, heir to the courtly love. The emotional discourse of the dying Narcissus, whose duration contributes to underline the egotistical isolation of the lover, addresses the divine beauty of the woman; the service of love, exhausting and unrequited; the appeal to the pity and the memory of the beloved; the suffering that cul- minates in death. Except for the unusual and impossible love target, the mythical youth ends up in a timeless gallery of male victims of love who, though reciprocated, committed suicide or were murdered after deciding “it is better to die quickly, than for a long time endure and suffer”. The variety in the sources (classic, such as Ovid and Valerius Maximus; and contemporary, such as Juan Rodríguez del Padrón or Alonso Fernández de Madrigal), and the peculiar way of interpreting and adapting the mythical accounts (evemerist, astronomical, allegorical) demonstrate how much D. Pedro identified himself with the still medieval point of view of the learned peninsular elite of the mid-fourteenth century, in which the moralizing tendency of the “Ínclita Geração” and the prehumanism of the court of John II of Castile stand out. |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-12-21 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.34624/fb.v0i17.27094 https://doi.org/10.34624/fb.v0i17.27094 |
url |
https://doi.org/10.34624/fb.v0i17.27094 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://proa.ua.pt/index.php/formabreve/article/view/27094 https://proa.ua.pt/index.php/formabreve/article/view/27094/19669 |
dc.rights.driver.fl_str_mv |
Direitos de Autor (c) 2021 Maria José Ferreira Lopes http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Direitos de Autor (c) 2021 Maria José Ferreira Lopes http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
UA Editora - Universidade de Aveiro |
publisher.none.fl_str_mv |
UA Editora - Universidade de Aveiro |
dc.source.none.fl_str_mv |
Forma Breve; No 17 (2021): Olhares de Narciso: egotismo e alienação; 57-70 Forma Breve; n.º 17 (2021): Olhares de Narciso: egotismo e alienação; 57-70 2183-4709 1645-927X reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
|
_version_ |
1799130497645805568 |