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• La Araucana by Alonso de Ercilla
• Imogen Choi

WHILE ALWAYS A PROMINENT TITLE OF THE GOLDEN AGE canon, La Araucana has been the object of a steady growth in scholarship over recent decades, which shows no signs of abating. Both a cause and symptom of this renewed interest is a current rethinking of the contours of the early modern Spanish literary world in which epic poetry can be seen as a barometer for literary experimentation and a broad, indeed encyclopedic, engagement with all kinds of problems and questions emerging from the epoch of early globalization. In a newly published volume (The War Trumpet: Iberian Epic Poetry, 1543–1639. U of Toronto P, 2023), the editors Emiro Martínez-Osorio and Mercedes Blanco go so far as to dub the period that falls within the book’s parameters, daringly, the “Age of Iberian Epics” (9), not in order to propose that this traditionally more neglected form should push out others, but to show how intertwined are these Spanish and Portuguese creations with the evolution of other genres. Among several new critical editions of Spanish-language epics, one significant absence until now has been La Araucana, certainly the most read, in its own day as in ours, and one of the most consequential. The tardiness of a state-of-the-art critical edition is owing in great measure to the wide availability of Isaías Lerner’s hefty and attractively presented edition in Cátedra’s Biblioteca Hispánica series. It is also because editing Ercilla’s masterpiece is uniquely challenging, and secondarily because few scholars have been aware of just how challenging it is, and how crucial its complex material history is to any well-founded understanding of the poem. Gómez Canseco’s edition, one of the latest in the rapidly expanding Biblioteca Clásica series of the Royal Spanish Academy, will thus be justly celebrated and take its place as the most authoritative modern edition of the poem.

In an important doctoral thesis that lay buried until a handful of scholars drew attention to it a few years ago, Juan Alberto Méndez-Herrera referred to La Araucana as “un poema que … vive en variantes” (Estudio de las ediciones de “La Araucana”, con una edición crítica de la tercera parte, Harvard U, 1976, iii). The reasons for adapting the phrase could not be more different than those for which it was originally coined by Ramón Menéndez Pidal to describe the romancero viejo’s oral and anonymous circulation. Ercilla’s work is absolutely [End Page 149] a product of the sixteenth-century print market and the emerging possibilities for authorial self-fashioning it facilitated. As a bestseller, it enjoyed no less than twenty-one editions during the sixteenth and seventeenth centuries, six of which (the 1569 Primera parte, three simultaneous editions of the 1578 Segunda parte, and 1589 and 1590 printings of the Tercera parte) took place under the author’s direct supervision in Madrid, with several more financed or promoted by him. Ercilla not only astutely marketed his work but continuously revised each new installment of his text before, during, and after its production, striving for a degree of control that was highly unusual for the period. Thus, the princeps editions show a mix of amendments to formes in the print shop (the printed type arranged into sets of four for quarto or eight for octavo to be imprinted on each side of the sheet, which was subsequently folded), handwritten corrections, cancels, and addenda. Notably, among the latter are the 115 new octaves describing an attempted new conquest to the south of Chile in the Tercera parte, which have much vexed later scholars. These authorial interventions, together with the less than systematic mechanics of early modern printing and collation of sheets, result in a plethora of different states of each edition, such that each individual copy bears some relevance when determining the text. Added to this, many of the variants are “adiáforas, esto es, lecciones igualmente válidas” (1028). Gómez Canseco handles...

 审阅者：

• 
  阿隆索·德·埃西拉 (Alonso de Ercilla) 的《La Araucana》
•  伊莫金·崔

虽然《阿劳卡纳》一直是黄金时代经典的显着头衔，但近几十年来，它一直是学术界稳步增长的对象，而且没有任何减弱的迹象。这种新兴趣的原因和症状是当前对早期现代西班牙文学世界轮廓的重新思考，其中史诗可以被视为文学实验的晴雨表，以及对各种问题和问题的广泛的、实际上是百科全书式的参与。早期全球化时代出现的问题。在新出版的一卷《战争号角：伊比利亚史诗，1543-1639 。多伦多大学 P，2023》中，编辑埃米罗·马丁内斯-奥索里奥和梅赛德斯·布兰科甚至将属于该书参数的时期称为：大胆地提出“伊比利亚史诗时代”（9），并不是为了建议这种传统上更被忽视的形式应该排挤其他形式，而是为了展示这些西班牙和葡萄牙的创作与其他流派的演变是如何交织在一起的。在西班牙史诗的几个新批评版本中，迄今为止最重要的一个版本是《阿劳卡纳》 ，它无疑是阅读量最大的版本，无论在当时还是在我们的时代，也是最有影响力的版本之一。最先进的评论版本的迟到在很大程度上是由于伊萨亚斯·勒纳在卡泰德拉的西班牙图书馆系列中大量且精美呈现的版本的广泛使用。这也是因为编辑埃西拉的杰作具有独特的挑战性，其次是因为很少有学者意识到它有多么具有挑战性，以及其复杂的物质历史对于任何有根据的理解这首诗有多么重要。 戈麦斯·坎塞科的版本是西班牙皇家学院迅速扩展的古典图书馆系列中的最新版本之一，因此将受到公正的庆祝，并成为这首诗最权威的现代版本。

胡安·阿尔贝托·门德斯·埃雷拉 (Juan Alberto Méndez-Herrera) 在一篇重要的博士论文中将La Araucana称为“un poema que ... vive envarites” ( Estudio de las ediciones de “La Araucana”)，直到几年前少数学者才引起人们的注意，该论文一直被埋没。 ”，《con una edición crítica de la terceraparte》 ，哈佛大学，1976 年，iii)。改编这个短语的原因与拉蒙·梅南德斯·皮达尔最初创造这个短语来描述“旧罗曼罗”的口头和匿名流传的原因大不相同。埃西拉的作​​品绝对是[完第 149 页] 16 世纪印刷市场及其促进的作者自我塑造的新兴可能性的产物。作为一本畅销书，它在十六世纪和十七世纪有不少于二十一个版本，其中六个版本（1569 年第一版、1578 年第二版的三个同时版本、以及 1589 年和 1590 年印刷的第三版）发生过在提交人在马德里的直接监督下，还有其他一些由他资助或推动的。埃西拉不仅精明地推销他的作品，而且在创作之前、期间和之后不断修改他的每一部新文本，力求达到一定程度的控制，这在当时是非常不寻常的。因此，Princeps 版本展示了印刷店对版式的修改（四开版的印刷字体排列为四套，八开版为八套，印在纸张的每一面，随后折叠）、手写更正、取消和增补。 值得注意的是，后者中有 115 个新的八度音阶，描述了《三方》中对智利南部的新征服尝试，这让后来的学者非常烦恼。这些作者的干预，加上早期现代印刷和纸张整理的不系统机制，导致每个版本有过多的不同状态，使得每个单独的副本在确定文本时都具有一定的相关性。除此之外，许多变体是“adiáforas, esto es, lecciones igualmente válidas” (1028)。戈麦斯·坎塞科处理...