The article demonstrates that Prešeren’s debt to the Iberian Parnassus is significantly greater than Prešeren studies have recognised until recently. In the light of polysystem theory, it discusses the poet’s fruitful reliance on a representative model of Spanish Baroque poetry that helped him fill the evolutionary gap in the poorly developed Baroque period of Slovene literature. It uncovers the Spanish ideological-motif substratum, especially in the Sonetje nesreče (Sonnets of Unhappiness), which turn out to be an encyclopaedic repertoire of the Baroque cosmovision.
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