Work
| This section includes a list of references, related reading or external links, but the sources of this section remain unclear because it lacks inline citations. Please improve this article by introducing more precise citations. |
A rapid survey of Lope's nondramatic works can begin with those published in Spain under the title Obras Sueltas (Madrid, 21 vols., 1776–79). The more important elements of this collection include the following:
- La Arcadia (1598), a pastoral romance, is one of the poet's most wearisome productions;
- La Dragontea (1598) is a fantastic history in verse of Sir Francis Drake's last expedition and death;
- El Isidro (1599) is a narrative of the life of Saint Isidore, patron saint of Madrid, composed in octosyllabic quintillas;
- La Hermosura de Angélica (1602), in three books, is a sort of continuation of Ariosto's Orlando Furioso.
Lope de Vega is one of the greatest Spanish poets of his time, along with Luis de Góngora and Francisco de Quevedo. In the 1580s and 1590s his poems of moorish and pastoral themes were extremely popular, in part because Lope —who appears in these poems as a moor called Zaide or a shepherd called Belardo— portrayed elements of his own love affairs. In 1602 he published two hundred sonnets with his La Hermosura de Angélica and in 1604 he republished them with new material in his Rimas. In 1614 his religious sonnets appeared in a book entitled Rimas sacras, which was another huge bestseller. Finally, in 1634 a third book of similar name, Rimas humanas y divinas del licenciado Tomé de Burguillos, which has been considered his masterpiece as a poet and the most modern poem book of the 17th century: Lope created a heteronym, Tomé de Burguillos, a poor scholar who is in love with a maid called Juana and who observes society from a cynical and disillusional position.
Read more about this topic: Lope De Vega
Famous quotes containing the word work:
“So is the English Parliament provincial. Mere country bumpkins, they betray themselves, when any more important question arises for them to settle, the Irish question, for instance,—the English question why did I not say? Their natures are subdued to what they work in. Their “good breeding” respects only secondary objects.”
—Henry David Thoreau (1817–1862)
“To see distinctly the machinery—the wheels and pinions—of any work of Art is, unquestionably, of itself, a pleasure, but one which we are able to enjoy only just in proportion as we do not enjoy the legitimate effect designed by the artist.”
—Edgar Allan Poe (1809–1849)
“Gustav Aschenbach was the writer who spoke for all those who work on the brink of exhaustion, who labor and are heavy-laden, who are worn out already but still stand upright, all those moralists of achievement who are slight of stature and scanty of resources, but who yet, by some ecstasy of the will and by wise husbandry, manage at least for a time to force their work into a semblance of greatness.”
—Thomas Mann (1875–1955)