Janus. Estudios sobre el Siglo de Oro es una revista científica digital, de acceso abierto y gratuito, con sistema de arbitraje de revisión anónima por pares (Double-Blind Peer Review). La revista sigue un proceso de publicación continua: los artículos se publican tan pronto como han sido evaluados y aceptados y el número se cierra al final de cada año. Los textos son publicados bajo una licencia Creative Commons CC BY-NC-ND 4.0 (Atribución/Reconocimiento-NoComercial-SinDerivados 4.0 Internacional). Ocasionalmente se publican monografías en la sección de anexos. La revista fue fundada y patrocinada en 2012 por el SIELAE (Seminario Interdisciplinar para el Estudio de la Literatura Áurea Española), de la Universidade da Coruña (España), hoy adherido al Grupo Hispania de la UDC. El SIELAE es una asociación sin ánimo de lucro inscrita en el Registro Nacional de Asociaciones con el número 163301 desde el 09/02/1998, con CIF G15635147. Su objetivo es difundir investigaciones sobre Literatura Española de los siglos XVI y XVII desde perspectivas multidisciplinares, así como sobre distintos aspectos de la Literatura y la cultura española, europea e hispanoamericana de la Edad Moderna, especialmente los relacionados con: Emblemática, Relaciones de Sucesos, Enciclopedias renacentistas (Polianteas), Inventarios y Bibliotecas del Siglo de Oro, así como estudios sobre creaciones en que se asocian palabra e imagen. Otro campo de interés es el de las Humanidades digitales.
Servizo de Publicacións. Universidade da Coruña
“El cabildo de los gatos” by Francisco de Quevedo: its versions in broadsheet form
This study analyzes the circulation of Quevedo’s “El cabildo de los gatos” in broadsheet form throughout the 18th and 19th centuries. The eight editions located allow for the identification of two previously unknown versions of the poem. Analysis of the variants confirms the complexity of the textual tradition. Significantly, some of these broadsheets contain readings more convincing than those of the versions known until now, suggesting they could be Quevedo’s; a total of twenty-four previously unknown verses are also revealed.
Copyright (c) 2025 Miguel Carabias Orgaz (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Juan de Zabaleta’s authorship of the first act of Los triunfos de José, according to stylistic analysis
This article presents a detailed stylistic analysis of the first act of Los triunfos de José, a comedy attributed to Pedro Calderón de la Barca in the preserved testimonies. However, historical documentation allowed for the exploration of a collaborative authorship involving Juan de Zabaleta, Luis de Belmonte Bermúdez, and Antonio Martínez de Meneses. The stylistic study confirms the clues previously identified by critics and supports the claim that Juan de Zabaleta wrote the first act of the biblical comedy Los triunfos de José, providing numerous lexical parallels throughout the setup of the play and even suggesting its role as a hypotext of the work by Juan Claudio de la Hoz y Mota titled José, salvador de Egipto y triunfos de la inocencia.
Copyright (c) 2025 Sergio Rodríguez Nicolás (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Metrical change in sacred epic poetry: From Juan de Padilla to Juan de Quirós
Juan de Padilla’s Retablo de la vida de Cristo (1505) is part of a corpus of epic texts composed in coplas de arte mayor between the 15th and 16th centuries under the influence of Juan de Mena. Juan de Quirós read the Retablo and used it as inspiration for his Cristopatía (1552). However, Quirós composed his work in octaves, in accordance with Italian models. In this way, he inaugurated the epic genre in Spanish Renaissance poetry.
Copyright (c) 2026 Luis Gómez Canseco (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
A text rescued from Manuel de León Marchante: the Jácara entremesada de Gargolla (with some interpretative notes)
The article rescues and studies a dramatic text by Manuel de León Marchante, a Baroque writer who has not received much attention. The piece in concern is the "Jácara entremesada de Gargolla", a short play in which the ruffian Gargolla receives assistance from a doctor and a surgeon after being wounded by another ruffian in a duel. The introduction places the work in the context of dramatic "jácara", the genre to which the text under study belongs. The work then highlights the similarities between the play and Quevedo's poem "Postrimerías de un rufián" (El Parnaso español), which can be considered the archetype of León Marchante's "jácara". Attention is also paid to Calderón de la Barca's "Baile las jácaras, 2.ª parte", in which Gargolla and fragments of Quevedo's rufian poetry appear again. Finally, the essay edits the text with a modest apparatus of notes.
Copyright (c) 2026 Jorge Ferreira Barrocal (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
eview of: Carla Fumagalli, “Solamente lo que toco veo”. Las ediciones antiguas de sor Juana Inés de la Cruz (1689-1725). Madrid/Frankfurt: Iberoamericana/Vervuert, 2025, pp. 358. ISBN 9788491924814
Review of: Carla Fumagalli, “Solamente lo que toco veo”. Las ediciones antiguas de sor Juana Inés de la Cruz (1689-1725). Madrid/Frankfurt: Iberoamericana/Vervuert, 2025, pp. 358. ISBN 9788491924814
Copyright (c) 2026 Emre Özmen (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
An unknown edition of the Comedia Aquilana and another, lost for three centuries, of the Propaladia by Torres Naharro
Bartolomé de Torres Naharro's comedies enjoyed great fame in their own time and have been the subject of numerous studies due to their early contribution to the theory of dramaturgy prior to the Golden Age of Spanish theatre. This research reveals a previously unknown edition of the Comedia Aquilana and a Propaladia that has been hidden for nearly three centuries since it was referenced by Michel Maittaire in the last volume of the Annales typographici... in 1741. Both works were printed in 1535. The colophon of the Comedia Aquilana states that it was composed in Juan Cromberger's workshop in Seville, while the typographical and woodcut elements of the sine nomine edition of the Propaladia allow us to attribute it to the Toledo workshop of Juan de Ayala and Juan de Villaquirán. Both works are preserved in a volume that belonged to King Frederick I of Württemberg.
Copyright (c) 2025 Inmaculada García-Cervigón del Rey (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Review of: Revilla Canora, Javier: El reino de Cerdeña en la segunda mitad del siglo XVII: evolución, crisis y reforma de un territorio mediterráneo. Palermo: Quaderni Mediterranea - Ricerche storiche, 2025.
Copyright (c) 2025 Almudena Vidorreta Torres (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
The incunabula of Antonio de Rocabertí, count of Zavellà, and Tomás de Rocabertí, count of Peralada, in Peralada’s Palace Library
The deeper we delve into the bibliographical collections of Peralada´s library, the more we become aware of the wealth preserved in this particular collection. This contribution presents fourteen incunabula and one doubtful copy acquired thanks to their creators, the Rocabertí brothers, Don Antonio and Don Tomás.
Copyright (c) 2026 Inés Padrosa Gorgot (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Review of: Espíritu y letra de Teresa de Jesús: Herencias del Carmelo, Esther Borrego, Javier San José, Rocío Alonso y Javier Burguillo (eds.), Ediciones Universidad Salamanca, Salamanca: 2024.
Copyright (c) 2026 Dr. Carmela V. Mattza (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
NEW ADVANCES IN THE TYPOGRAPHIC ATTRIBUTION OF SOME LOOSE PRINTED PAPERS BY ROJAS ZORRILLA
This work analyses several loose printed copies without relevant bibliographic data in the textual transmission of some plays by the playwright Rojas Zorrilla, such as: Los celos de Rodamonte, El desafío de Carlos V, La esmeralda del amor, and También la afrenta es veneno, the latter written in collaboration by Vélez de Guevara, Coello and Rojas. Thanks to advances in the knowledge of loose sheets that have been made in recent years in the context of the ISTAE project, in this article we propose a study in which, through ecdotics and typography, we show possible attributions of the analysed testimonies to the workshops of Simón Fajardo, Francisco de Lyra or Juan Lorenzo Machado and, likewise, we propose a new publishing family through the study of the label PERSONAS DELLA.
Copyright (c) 2026 Óscar García Fernández (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Review of: Antonio de Guevara, Aviso de privados y doctrina de cortesanos. Study and edition by Emilio Blanco, Jaén, UJA Editorial, 2024, 296 pp.
Review of E. Blanco's critical edition of Guevara's Aviso de privados.
Copyright (c) 2026 Adrián J. Sáez (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
From Atoms to Waves: Rhythmic Stylometry for Authorship Studies of Early Modern Spanish Theatre
Each comedy from the Spanish Early Modern period can be decomposed into hundreds of rhythmic patterns—one for each verse—whose overlapping creates a characteristic authorial fingerprint. Stylometric techniques can be employed to compare these patterns, formed by the concatenation of stressed and unstressed syllables, in order to establish authorial inferences. In this exploratory work, we designed an experiment comprising a corpus of one hundred securely attributed plays by nine different authors, conducting a series of tests to determine whether these rhythmic patterns can discriminate the authorship of a theatrical piece. The results, although inferior to those obtained through traditional lexical stylometry, show promise as an alternative path for authorial investigation.
Copyright (c) 2025 Álvaro Cuéllar (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Theatre chapbooks in CD.122.514 of the Bibliothèque Nationale Universitaire de Strasbourg: a bibliographical review
This paper offers the bibliographical review of twenty comedies kept in the volume CD.122.514 of the Bibliotèque Nationale et Universitaire de Strasbourg (BNU). While a group of theatre chapbooks consists of copies of already known editions, we focus our analysis on another group of unknown editions that help to expand the existing bibliographical records and point out interesting clues regarding the Sevillian or Valencian provenance of several of them.
Copyright (c) 2025 Paula Casariego Castiñeira (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Arguing the Ineffable: Female interlocutors and the poetics of the genre of dialogue in El libro de las recreaciones by María de San José.
This article is the first to examine Book for the hour of recreation (c. 1585), written by María de San José (Salazar) – a disciple of Saint Teresa of Jesus –, from the perspective of the poetics of the dialogue genre. One of the unique features of this work is its use of female characters, which are extremely rare in this literary form dating back more than two thousand years. The first part of the work studies the nuncupatory epistle as a key piece for understanding the work. Next, it examines the elements that establish the argumental pact and the praeparatio before beginning the dialogue itself. The third part is devoted to the fundamental objective of the article: analysis, using the theory of argumentation, of the three main interlocutors in the colloquium, Gracia, Justa, and Atanasia. Among them, the figure of Gracia stands out as embodying the author herself. However, María de San José uses very careful self-fashioning techniques to convey her thoughts through the multiplicity of opinions of her interlocutors.
Copyright (c) 2025 Alejandro Cantarero de Salazar (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Maria Madalena de Jesus, a biliterary writer? One unpublished letter and several poems (in Portuguese and Spanish) from the Iberian Baroque
The Portuguese writer Maria Madalena de Jesus (ca. 1618-1701), a nun at the monastery of Madre de Deus in Lisbon, appears in many catalogs or chronicles of the period —such as Diogo Barbosa Machado’s Bibliotheca Lusitana or Jerónimo de Belém’s Chronica Serafica—, but until now her literary production was considered lost. This article reports the finding of two manuscript copies of a famous letter from the author to her mother, written in Portuguese at the time of her flight from the family home to join the convent. One of these testimonies also contains a series of poems in Spanish, which, together with the epistle, are edited here as an appendix. At least one —if not all— of these poetic compositions must be attributed to Maria Madalena de Jesus; therefore, she should be included amongst the women writers in Spanish language of the Baroque. Consequently, we find ourselves before a biliterary author, active within the Luso-Castilian interliterary community (Aguiar e Silva, 2008) of the seventeenth century.
Copyright (c) 2025 Antía Tacón (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
“Como si no naciera para otra cosa”: divine inspiration in the Castilian “living saints” childhood (1400-1550)
In 15th and 16th century Castile, there were mulieres religiosae who gained a reputation for sanctity and influence in religious life, as well as in the politics of their time, before Saint Teresa of Avila. These are the so-called “living saints”. In some of the writings about their lives, hagiographies, biographies, etc. give an account of how and at what point in their lives the call to religion and entry into religious spaces such as beguinages, monasteries or convents would take place. Among the various possibilities, there is one that stands out as the predominant hagiographic motif: divine inspiration in childhood or early youth.
Copyright (c) 2025 Verónica Torres Martín (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
The New Romancero and Satirical Invention in the Golden Age: The Pastoral Romances of Pedro Liñán de Riaza. A Rhetorical-Cultural Study of the Theme of Love
This paper analyzes a selection of pastoral ballads by Pedro Liñán de Riaza from the theoretical and methodological perspective of Cultural Rhetoric, focusing on the critical and satirical function of the discourse of love. The theme of love remains constant in all the texts examined, although reinterpreted from a demystifying perspective that subverts the Petrarchan canons and the courtly idealism characteristic of the New Romancero. Satire manifests itself as a rhetorical strategy that channels ideological and sociocultural tensions, operating on the expressive and structural levels of the ballad. The analysis provided by Cultural Rhetoric allows us to interpret these texts as symbolic products that reflect and question the values ​​of the Golden Age, deploying a perlocutionary dimension that actively challenges the reader. The study of linguistic levels reveals the cultural function of the ballad as a network of meanings in dialogue with its context. In this sense, Liñán de Riaza’s romances not only parody the bucolic courtly setting, but also articulate a critical irony that highlights the fissures of the baroque social imaginary.
Copyright (c) 2026 Raquel López Sánchez (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Review of: Francisco Sánchez de las Brozas, Comentarios a los Emblemas de Alciato. Estudio introductorio, edición crítica, traducción, notas e índices de Jesús Ureña Bracero y Pedro Juan Galán Sánchez, Salamanca, Ediciones Universidad de Salamanca, 2025, 1178 pp., ISBN: 978 84 1091 013 3].
An analysis is offered of the edition and translation from Latin into Spanish carried out by Jesús Ureña Bracero and Pedro Juan Galán Sánchez of the Commentaries by Francisco Sánchez, el Brocense, on the Emblemata of Alciato (1573), as well as of the previous study offered in this edition [2025].
Copyright (c) 2025 Sagrario López Poza (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
The News Pamphlet of the assassination of Ruthenian Archbishop Josaphat Kuncew
The aim of this paper is to study the historical, political and religious circumstances of the composition of the News Pamphlets dedicated to the death of the Ruthenian archbishop Josaphat Kuncewicz and the execution of the schismatic aggressors, published in Seville in 1625. We will focus on verifying the attribution of the authorship of the “carta de relación” and reviewing its possible sources, that is, Polish testimonies and documents of the time, in order to compare its content and detect the possible modifications that were introduced in the text in Simón Fajardo's printing workshop. We will also focus on analysing the hybrid structure of the narrative and the characteristics of the subgenres it represents: the News Pamphlets on martyrdom and the "News Pamphlet on horrible and frightful cases", in order to examine the purpose of the narrative. Investigating the reasons for its publication in the Iberian Peninsula, we will take into consideration the involvement of the Society of Jesus in the dissemination of news about the martyrdom of the Greek-Catholic religious, as well as the objectives of the political propaganda of the Polish court.
News Pamphlets on horrible and frightful cases
Copyright (c) 2025 Marta Pilat Zuzankiewicz (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Quevedo, reader of Orphica. His notes in the copy at the National Library of Spain, sign. BNE 3-76875
The main objective of this study is the edition and philological commentary of a series of previously unpublished manuscript notes by Quevedo, written in the margins of an otherwise unknown copy of Orphei poetae vetustissimi Opera (1555), preserved at the National Library of Spain (shelfmark 3-76875). This volume comprises three works —Argonautica, Hymni, and De lapidibus— translated into Latin by the humanist R. Perdrierius. The study also aims to demonstrate that Don Francisco owned this copy in his personal library and read it with close attention. This article offers further evidence of how Quevedo’s marginalia once again testify to the breadth of his intellectual pursuits and his distinctive habits as a reader
Copyright (c) 2025 Francisca Moya del Baño (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
The Arte de galantería of D. Francisco de Portugal (1670): Instructions on ‘the science of the world’.
This article deals with the work of the brilliant gentleman D. Francisco de Portugal, Arte de galantería (1670), linking it to the manuals and treatises of the so-called 'courtly discourse' that were elaborated at the time, for clear recipients who are all those who want to understand and participate in the palace dynamics, and develop courtly sociability. The courtly usages are of necessary transmission, given the importance of behavior and given that behind the exercise of gallantry is, precisely, a game of powers. A game of which D. Francisco de Portugal knows the keys and codes and can teach how to handle the symbolism - the symbolic power - that lies behind every word, every act, every movement.
Copyright (c) 2025 María Isabel Andrés Llamero (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Stemmata in dialogue: variants from Jorge de Montemayor’s Diana (Zaragoza, Miguel de Güesa, 1562) and their relationship with the Abencerraje
In this work, the textual transmission of Jorge de Montemayor’s Diana is studied through the variants of its first printed editions, with special attention to that of Zaragoza, Miguel de Güesa, 1562. The variants are analysed taking also into account their relationship with the textual transmission of the Abencerraje with the aim of offering a new vision on the filiation of early editions of the Diana and the Moorish novel.
Copyright (c) 2025 Marcos García Pérez (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
This study proposes, on the one hand, a palaeographic reading of the ode “Fora conveniente” by Luís de Camões (1524/25-1580), a Portuguese poet whose fifth centenary of his birth is being celebrated in Portugal from 2024 to 2026; and, on the other, to retrace the critical fortune of this poetic composition, from its compilation in the Codex de Luís Franco Correa (Franco, 1589) to its most recent publication by Felipe de Saavedra in Aquileida, a Trilogia de Aquiles, e mais onze odes de Luís de Camões (Camões, 2024b). The case of the ode “Fora conveniente” is exemplary in terms of decisions about the corpus and the inclusion or exclusion of poetic compositions in the so-called “The Complete Works of Luís de Camões” editions.
Copyright (c) 2025 Felipe de Saavedra (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
Review: Massimo Rospocher y Rosa Salzberg, Il mercato dell’informazione. Notizie vere, false e sensazionali nella Venezia del Cinquecento, Venezia, Marsilio Editori, 2021, 116 pp. ISBN: 978-88-297-1444-5.
Review of Il mercato dell’informazione. Notizie vere, false e sensazionali nella Venezia del Cinquecento, in which authors explore how Venice, with its publishing industry and political influence, became a key information hub in the 16th century.
Copyright (c) 2025 Noemi Ricci (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
An unknown poem by Elói de Sá Sotomaior and the antisemitic literature in Portugal at the beginning of the 17th century
This article examines a manuscript poem attributed to Elói de Sá Sotomaior, a 17th-century Portuguese writer. It begins with a review of the biography and critical reception of this poet, then moves on to analyse the poem “Ó meu senhor D. Miguel”. This analysis considers the dialogue established with the results of a poetic contest published in Lisbon in 1625, as well as with the anti-Semitic tone that pervades the entire poetic composition. This characteristic is linked to the context of its production and the anti-Jewish literature that proliferated in the early 17th century in the Iberian Peninsula. The article concludes with an edition of the poem.
Copyright (c) 2025 Pedro Monteiro, Geise Teixeira (Autor/a) https://creativecommons.org/licenses/by-nc-nd/4.0
A narrative on fashion-image in Felipe the second: a beautiful gesture of royal majesty
The article presents a study of a specific case about the creation of a historical narrative, and the symbolic elements inherent to that narrative. The case is referred to the royal portraits of Felipe II based on two models: Titian's from 1549 and Lucas de Heere from 1553. The introduction takes up the concept of dressing in the Spanish style as a general context of clothing and the institutional narrative of the monarchy that was intended to be transmitted; next, the fashion image created to convey a beautiful gesture of royal majesty is studied. Its background is described by the royal’s portrait of Charles the Fifth and its context about the Trento’s Council are expounded, the creation of an iconic image from the Council ideas, as well as the dissemination of this style created from the political predominancy of the Spanish monarchy. Then the style and details of this clothing and the variations that can be seen in the portrait of Heere, both physiognomic and clothing aspects, are described in order to explain the multiplicity of different portraits been produced. The methodology will be the graphic comparison of portraits of Philip II made in the 1550s (Tiziano’s studio and Heere), which brings information on the generation and dating of families of portraits as well as the incorporation of basic references for the understanding of the historical moment and its relationship with the monarchical narrative.
Copyright (c) 2025 José María Bullón de Diego (Autor/a) https://creativecommons.org/licenses/by-nc-sa/4.0
Orpheus in Lope de Vega’s Courtly Poetry (1621-1624)
This article examines the importance of Orpheus myth in Lope de Vega’s non-dramatic works during the first years of Philip IV’s reign (1621-1624). After reviewing the apparitions of the aforesaid myth in Lope’s previous works, and critics opinions on the subject, we analyze how he uses it in the three works in our corpus: La Filomena (1621), La Circe (1624), and Orfeo en lengua castellana (1624). In particular, we examine the mythological fables, such as «La Filomena», «La Circe», and the Orfeo, to analyze how the myth evolved, and to study the scene of the death of the poet, and its connections with the possible sources: Bustamante’s Ovidian translation, Reusner’s Picta poesis ovidiana, Pérez de Moya’s Philosofía secreta de la gentilidad and Vitoria’s Teatro de los dioses de la gentilidad.
Copyright (c) 2021 Janus. Estudios sobre el Siglo de Oro https://creativecommons.org/licenses/by-nc-nd/4.0
"¿Por qué con esa lengua artificiosa, arroyo, te metiste en mar tan brava?" Variatio, landscape and writing in Lope de Vega 's mythological poem La Filomena
This work intends to analyze the first part of the mythological poem La Filomena included in Lope de Vega´s miscelanea of the same name published in 1621. We will try to describe the variatio as a constructive principle of volume but also of the poem. For this we will focus on the landscapes that the poem builds to present the history of the rape, mutilation, and metamorphosis of Filomena: fountains, sea and jungles. In this way we will try to show that the management of these spaces also involves reflection on coordinates poetic and generic that reinforce the multiplicity of meaning and the variety in writing.
Describe and narrate in the poem “La Tapada” of Lope de Vega
We propose to show two compositional aspects –the description and the story– that organize the framework of the poem “Description of La Tapada. Insigne mount and recreation of the excellent Duque de Braganza”. The harmonious dialogue between the description of the recreation site (La Tapada) and the story that deals with the exaltation of an illustrious figure (Theodosius II of Braganza) have set up a poem that falls into the category of hybrid text and –for its originality– draws attention within the macro-text of La Filomena, whose generic definition is still discussed.
Of "gozques", "Anaxandros" and "griguiescos": Francisco Pérez de Amaya portrayed by Lope de Vega
Throughout theses pages we will intend to examine the rhetorical strategies displayed by Lope when describing Francisco Pérez de Amaya, a lawyer from Antequera, in the first and eighth epistles included in La Filomena. We will examine, therefore, the way in which the poet attacked him drawing on metaphores and similes that, up to now, have been overlooked in specialised and related papers. Once analyzed those images, we will discover the peculiar portrait made by Lope, full of professional displacements and personal satires. Together with it, some cross-references and interesting aspects on our poet’s imaginary will arise, as well as his stance against the “cultos”.