Abstract

Este trabajo es la segunda parte de un estudio sobre la construcción del doble literario de Lope de Vega, a la búsqueda constante y vana del mecenazgo real, como estrategia de autopropaganda en aquellas obras, teatrales y no dramáticas, en que el poeta intenta lucir como relacionero de las dobles bodas reales de 1599 y de 1615. Si el Lope de la primera época, a través de las máscaras que le representan, exhibe con orgullo su existencia literaturizada - hasta en su faceta burlesca - poniéndola al servicio de sus ambiciones palaciegas, el Lope maduro multiplica sus dobles, mostrándose hasta dispuesto a renegar de su mito lírico. Finalmente, el anciano dramaturgo, con un vuelco genial, hace que Belardo, disfrazado de Burguillos, se rescate, parodiando su propia escritura cortesana. Así, el triunfo final de Burguillos corresponde a la victoria definitiva del Lope-personaje sobre el Lope-cortesano.

Abstract

This essay is the second part of a study of the construction of Lope de Vega's literary double, in a constant and vain search for royal patronage, as a strategy of self-promotion in those works, both dramatic and non-dramatic, where the poet tries to display himself as the official chronicler of the double royal weddings of 1599 and 1615. The young Lope, through the masks that represent him, proudly exhibits his life transformed into literature, even in its burlesque aspect, in order to use it for his courtly ambitions. The middle-aged Lope multiplies his masks, ready to mock his own lyric myth. Finally, the old playwright, in a stroke of genius, gives Belardo the opportunity to redeem himself by becoming Burguillos, parodying his own courtly literary practice. In this way, Burguillos's final triumph implies the definitive victory of Lope the character over the Lope the courtier.

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