Estudios bibliografico y textual y edicion critica de nueve poemas satiricos de Francisco de Quevedo.

Abstract

The dissertation is a critical edition of nine poems attributed to Francisco de Quevedo (1580-1645). Poems in stanzas of seven and eleven-syllable lines have been selected, as they are among the least studied of the author's satirical poetry. Chapter 1 reviews the problems of the textual transmission of Quevedo's poetry from the early 17th century to Jose Manuel Blecua's 1969-1981 authoritative edition. Chapter 2 is a catalog with a description and bibliographical study of the 36 manuscripts and 24 printed books used in this edition. It incorporates 15 new manuscript versions of the poems never before included in an edition. There is also a study of the 61 watermarks found in the paper of the manuscripts, which allows them to be dated more precisely. Lastly it includes a stemma showing the relationships between some of the manuscripts and the 17th century printed books. The critical edition of the nine poems follows the methodology of Neo-Lachmannian textual criticism: (1) Catalog of all the manuscript and printed sources. It demonstrates that the 18th-20th century printed books reproduce either a manuscript or a 17th century printed book. (2) A new collation of all the sources which corrects many errors found in previous editions. It examines critically the variants and offers a stemma for the extant versions of each poem. (3) Establishment of a critical text. In six of the poems, in which several drafts can be distinguished, it attempts to represent a version closer to the lost original of the final intention of the author; in another two poems the version closer to the archetype is selected; in a last poem the only known version is edited. (4) Review of external evidence of the chronology and authenticity of the poems. This proves that six of them were composed at an early date (c. 1603) and that one is of doubtful attribution. (5) Philological annotation. This shows that the most common rhetorical figure in most of the poems is the dilogia, although other figures of the agudeza are also employed.