Garcilaso de la Vega
Egloga Tercera
Egloga Tercera 129-144
- Estava figurada la hermosa Euridice,
- en el blanco pie mordida
- de la pequeña sierpe ponçoñosa,
- entre la yerva y flores escondida;
- descolorida estava como rosa
- que ha sido fuera de sazón cogida,
- y el ánima, los ojos ya bolviendo,
- de su hermosa carne despidiendo.
- Figurado se via estensamente
- el osado marido, que baxava
- al triste reyno de la escura gente
- y la muger perdida recobrava;
- y cómo, después desto, él, impaciente
- por mirarla de nuevo, la tornava
- a perder otra vez, y del tyrano
- se quexa al monte solitario en vano.
Egloga Tercera 145-160
- Dinámene no menus artificio
- mostrava en la lavor que avia texido,
- pintando a Apollo en el robusto officio
- de la silvestre caça embevecido.
- Mudar presto le haze el exercicio
- la vengativa mano de Cupido,
- que hizo a Apollo consumirse en lloro
- después que le enclavó con punta d'oro.
- Daphne, con el cabello suelto al viento,
- sin perdonar al blanco pie corria
- por áspero camino tan sin tiento
- que Apollo en la pintura parecía
- que, porque'lla templasse el movimiento,
- con menos ligereza la seguía;
- él va siguiendo, y ella huye como
- quien siente al pecho el odioso plomo.
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Notes
- The first tapestry shows separate episodes of
the story of Orpheus and Eurydice; although the name of Orpheus is
withheld and he is referred to as
el osado marido
. There is
an assumption of familiarity with Orpheus. In this stanza the death
of Eurydice is described. - ·descolorida The topic of
premature death, here expressed through the image of the rose cut
before its time and which has no colour, recurrs in the
Egloga, in the fourth tapestry. From there it leads
us to the Primera Egloga.
- ·el osado marido The name of
Orpheus is still witheld. The first part of this stanza dwells on
Orpheus' descent to the underworld to recover Eurydice; then there
is the loss and finally the story ends where it had begun, with the
lament of Orpheus on the desolate mountain. The way that the
familiar story is shaped into this circular pattern is
interesting.
- The second tapestry shows the story of Apollo
and Daphne. Apollo is presented as the hunter, self-assured,
occupied. Then there is the intervention of Cupid with two arrows,
the golden arrow that inspires love and the leaden that creates
indifference.
- ·templasse This stanza conveys
an awareness on Garcilaso's part of how in poetry he attempts to
borrow the qualities of art. Through words he sets himself the test
of conveying the impression of movement, here finely defined
movement, for by pursuing Daphne less fast Apollo hopes to stay her
headlong flight.