Tradición y novedad en la poesía de Juan del Encinael "Cancionero" de 1496

Laburpena

My doctorate research covers a detailed overview of the Cancionero de las obras de Juan del Encina (Salamanca, 1496), the most important of the personal songbooks of the 15th century. Instead of concentrating on Encina’s theatrical work, which is already well-known, I have studied his work as a cancionero poet, in which he stands out among the great poets of the period of the Catholic Kings. Indeed, Encina’s poetry is striking both in terms of its religious subject matter as in the so-called poetry of circumstance, as well as in the bucolic shepherd’s play with classic roots as in moral poetry, in addition to all the genres offered by the lyrical poetry of cancionero poets: villancicos, songs, coplas de amores, glosas, etc. During my research I have tackled the peculiarity of his religious poetry, which opens the Cancionero, but I have also considered his love poetry: I have determined sources, influences and literary accounts that are observed both in the section of coplas de amores as well as in those relating to ballads and songs con sus deshechas and in the so-called fixed genres. I have stressed the originality of Encina’s dialogued villancicos (as much courtly as pastoral), which are literally and conceptually very closely related to his theatrical work. I have updated the bibliography relating to Encina’s poetry and have also investigated the autobiographical news that is gathered from the prologues and poems of circumstance aimed at his patrons and protectors. In short, I have outlined the position that Encina holds in the tradition of our 15th cancionero poetry and I have emphasized his leading role among the poets of the end of the fourteen hundreds; but, at the same time, I have documented his influence in subsequent cancioneros such as the foundational works Cancionero musical de Palacio (MP4) and Cancionero general (11CG).