Juan de Torres in the context of the Cancionero de Palacio (SA7)

Abstract

I came to the poetry of Juan de Torres through citations of his work as examples of rhetorical wit in Casas Rigall (1995]). The tantalizing fragments quoted there seemed to suggest that the visual was a privileged domain in his poetry, and that his treatment of it was central to his oeuvre rather than a banal echoing of a poetic commonplace. A consultation of the transcriptions in Dutton with Krogstad (1991: iv, 89, 93–96, 97, 101, 105–06, 121, 133–36, 178) and of the two published editions of the Cancionero de Palacio (SA7, compiled c.1437–42; 1945, 1993), in which most of his poetry appears, confirmed this reading, and so I proposed the topic of sight and the gaze for this essay in homage to Dorothy Sherman Severin. I was dismayed and surprised, however, to find that Torres had not been subject to the kind of attention that I imagined that he should enjoy, and which, thanks to the work of Cleofe Tato, his Cancionero de Palacio peer Pedro de Santa Fe has recently received. Indeed, Palacio, despite the publication of a first critical edition over sixty years ago, through a peculiar distortion of literary historiography has yet to occupy the place it merits:

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