Los Trionfi en España: la poética petrarquista, la teoría de la traducción y la lengua vernácula en el siglo XVI

Abstract

The sixteenth-century translations of Petrarch’s Trionfi into Castilian offer a means of gauging the changing attitudes toward Petrarch’s poetics, translation and the vernacular language. Despite their cancionero style, the first translations of the Trionfi by Antonio de Obregón in 1512 and of the Trionfo d’amore by Alvar Gómez confirm the receptivity of Spanish culture to the development of Spanish Renaissance poetics, yet demonstrate the difficulties of translating ad sensum into a different poetic from. Bases on the apparently contradictory double purpose of the humanist translator as fidus and interpret, Hermando de Hozes’s 1554 translation in Italianate terse Rina rhyme scheme successfully appropriates the Petrarchan lyric, conveying the sense of the original while proclaiming the autonomy ambition primacy of the Castilian vernacular.