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Notes
1. See Francisco de Quevedo y Villegas, Obras completas. Obras en verso, ed. Luis Astrana Marín (Madrid 1943), 909. The first edition of Quevedo's poetry appeared three years after his death. It was intended that the poetry should be divided into nine sections, each one corresponding to one of the nine Muses. Only six sections were published in El Parnaso español; the remainder appeared in Las tres últimas Musas castellanas (Madrid 1670), edited by Quevedo's nephew, Pedro Aldrete.
2. ‘Some imitations of Quevedo and some poems wrongly attributed to him’, RR, XXI (1930), 228–35; Estudios sobre el petrarquismo en España (Madrid 1960), 195–209.
3. ‘El “Poema a Lisi” y su petrarquismo’, Mediterráneo, 13–15 (1946), 76–94.
4. ‘Investigações sobre sonetos e sonetistas portugueses e castelhanos’, RHi, XXII (1910), 509–614.
5. ‘Cuando me paro a contemplar mi estado: Trayectoria de un Rechenschafts-Sonett’, in Estudios hispano-portugueses (Valencia 1957), 59–95.
6. An article by Lorna Close that deals in depth with Petrarchan elements in Quevedo's love-poetry appeared after the completion and submission of my article: ‘Petrarchism and the cancioneros in Quevedo's love-poetry: the problem of discrimination’, MLR, LXXIV (1979), 836–55.
7. Luigi Groto was born in Adria in 1541 and died in Venice in 1603. Quevedo's imitations are discussed in Fucilla, Estudios, 201–08, and ‘Some imitations’, 229–32.
8. The edition of the Heráclito cristiano that I refer to is one compiled by J. M. Blecua from a manuscript that contains the greatest number of the poems. See Quevedo, Obras completas I. Poesía original, 2nd edn (Madrid 1968), cxxxi. Page numbers are indicated in parenthesis after each quotation.
9. Blecua (xxv) states that Quevedo ‘al cumplir los treinta y tres años pasa por una tremenda crisis que se traduce en el Heráclito cristiano’. Henry Ettinghausen sees the period preceding 1613 as decisive for Quevedo's development as a Neostoic, a period ‘marked by what seems to have been an acute and prolonged crisis of conscience . . . There is every indication that at this period Quevedo felt deeply distressed by the more frivolous of his early writings and by his conduct as a university wit’ (Francisco de Quevedo and the Neostoic Movement [Oxford 1972], 15).
10. See Morris Bishop, Petrarch and his World (London 1964), 190–91.
11. Lapesa suggests that the source for Garcilaso's sonnet was a passage near the start of Dante's Inferno (La trayectoria poética de Garcilaso [Madrid 1948], 72).
12. Poesías castellanas completas, ed. E. L. Rivers (Madrid 1969), 37.
13. Poesías líricas, ed. José F. Montesinos, I (Madrid 1960), 155.
14. Il Canzoniere, ed. Dino Provençal (Milan 1954), 333. Future references will appear in parenthesis after the quotation. Glaser (6 1n) mentions the existence of a Spanish translation of Petrarch's sonnet by Henrique Garces in Los sonetos y canciones del poeta Francisco Petrarcha (Madrid 1591), although its first line (‘Quando me vuelvo a contemplar los años’) is not as precise a translation as that found in the poem from the Heráclito cristiano.
15. Rimas I, ed. J. M. Blecua (Madrid 1974), 192.
16. Poesías, ed. E. L. Rivers (Madrid 1957), 25.
17. Obras completas, ed. Marques Braga, I (Lisbon 1945), 59–60.
18. Diogo Bernardes's sonnet was formerly ascribed to Camões, as shown by Hernâni Cidade in his edition of Camões's poetry (Obras completas, I, 3rd edn [Lisbon 1962], xxxv). There is evidence that Quevedo knew Camões's work: see Fucilla, ‘Some imitations’, 234, and Dámaso Alonso, Ensayos sobre poesía española (Madrid 1944), 176.
19. This order is observed in all editions of Quevedo's poetry, from El Parnaso español to Blecua's recent editions.
20. Fucilla also shows (Estudios, 196–97) that, even when Quevedo follows Petrarch closely, he introduces a striking, original phrase. In one such case (the sonnet ‘Lloro mientras el sol alumbra’), he follows Petrarch closely until the final tercet where he provides a more vivid close: ‘se destaca el autor español de su versión casi literal en el último terceto, que manifiesta con más energía la pérdida de la esperanza del amador’.