En torno al soneto VII de Garcilaso, sus fuentes (Horacio, carm. 1, 5, y B. Tasso) y sus comentaristas (El Brocense y Fernando de Herrera)

Abstract

According to the branch-like theory within textual analysis, in the commentary of Garcilaso’s sonnet 7 El Brocense takes only the direct sources (Horacio, carm., 1, 5; and Bernardo Tasso), so that the reader can appreciate the commendable work of the poet. In the Anotaciones Herrera follows a different path from that established by El Brocense and in order to do that he widens the number of critical works (some are mere parallelisms) at the time that highlights the influence of Virgilius (Aen. 12, 766- 769), accepting at face value his primacy in the imitation of Garcilaso. As far as the adaptation of the topos is concerned, Garcilaso follows the same line of interpretation set up by the commentators of Horace (Pseudo-Acrón, Porfirión, Mancinelli and Landino) introducing an explicative comparison in the metaphor of the castaway lover («ha ya escapado/ libre de la tormenta en que se vido») which shows the lexical distinction established in Horace’s annotations between the castaway (euadere maris pericula) and the lover (amore liberatus). Finally, Horace’s translations (carm. 1, 5), which are made by the commentators of Garcilaso (El Brocense and Jerónimo de los Cobos), are influenced by the text of sonnet 7.