Everything about Juan Mart Nez De J Uregui Y Aguilar totally explained
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Juan Martínez de Jáuregui y Aguilar (also known as
Juan Martínez de Jáuregui y Hurtado de la Sal) (
November 24,
1583 -
January 11,
1641),
Spanish poet, scholar and painter in the
Siglo de Oro.
Juan Martínez de Jáuregui y Hurtado de la Sal was born and baptized in
Seville/
Andalusia. His parents were Miguel Martínez de Jáuregui, a
hidalgo—which is an untitled Spanish nobleman—from
La Rioja, and Doña Isabel de la Sal from
Sevilla. He was the fifth of their ten children; the oldest became later commissioner (
regidor) of Sevilla. The poet changed his second name (
the one coming from his mother) later to the more illustrious "de Aguilar".
About his youth very little is known. In his discourse "Arte de la pintura" ("The art of painting") some references to various travels to
Italy can be found and it's known that he stayed in
Rome, probably to study painting. He returned to
Spain shortly before
1610 with a reputation as both a painter and a poet. A
reference
in the preface to the
Novelas exemplares has been taken to mean that he painted the portrait of
Cervantes, who, in the second part of
Don Quixote, praises the translation of
Tasso's
Aminta published at Rome in
1607.
Jáuregui's
Rimas (
1618), a collection of graceful lyrics where he integrated also some translations of
Horace,
Martial and
Ausonius, is preceded by a controversial preface which attracted much attention on account of its outspoken declaration against the
culteranismo of
Luis de Góngora. Another Spanish poet,
Francisco de Quevedo, mentioned Jáuregui in "La Perinola" with scorn.
Through the influence of
Gaspar de Guzmán y Pimentel, Count-Duke of Olivares, he was appointed groom of the chamber to
Philip IV, and gave an elaborate exposition of his artistic doctrines in the
Discurso poético contra el hablar culto y oscuro (
1624), a skillful attack on the new theories, which procured for its author the
order of Calatrava. It is plain, however, that the shock of controversy had shaken Jáuregui's convictions, and his poem
Orfeo (
1624) is visibly influenced by Góngora.
Jáuregui died at Madrid on the
January 11 1641, leaving behind him a translation of the
Pharsalia which wasn't published until
1684. This rendering reveals Jáuregui as a complete convert to the new school, and it has been argued that, exaggerating the affinities between
Lucan and Góngora—both of
Córdoban descent —he deliberately translated the thought of the earlier poet into the vocabulary of the later master. This is possible; but it's at least as likely that Jáuregui unconsciously yielded to the current of popular taste, with no other intention than that of conciliating the public of his own day.
Bibliography
- Rimas (1618) — A collection of lyrics.
- Discurso poético contra el hablar culto y oscuro (1624)
- Antídoto contra la pestilente poesía de las Soledades (1624)
- Apología de la verdad (1625)
- Orfeo (1624)
- Pharsalia (1684)
Further Information
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