Evocación Santillana Better -

In the poetry of Íñigo López de Mendoza, Marqués de Santillana (1398–1458), the act of evocación functions as both a rhetorical strategy and an emotional structure. His works frequently summon classical antiquity, courtly love ideals, and personal memory. This paper argues that Santillana’s evocations are not mere imitations but deliberate constructions of cultural authority and intimate longing.

Unlike the solemn Proverbios , the serranillas (e.g., La vaquera de la Finojosa ) evoke encounters with mountain women. These poems create a pastoral, almost nostalgic space—an idealized memory of rustic dialogue. Evocation becomes sensual, playful, and deliberately anti-courtly. Santillana recalls not events but atmospheres : the sound of streams, the roughness of wool, the wit of a shepherdess. evocación santillana

In sonnets influenced by Petrarch (via the Italian Duecento ), Santillana evokes his own emotional states. Verses like «Recuerde el alma dormida» (though often misattributed, the tone is consistent) show a poet turning inward. Memory is no longer public or classical—it is personal loss. This prefigures Garcilaso’s later lyric. In the poetry of Íñigo López de Mendoza,

In Proverbios (or Centiloquio ), Santillana evokes figures like Seneca, Aristotle, and Hercules not as erudite ornament but as moral exemplars. The poet bridges past and present through aphoristic recall, using classical authority to legitimize counsel for Juan II. Here, evocation is didactic and political. Unlike the solemn Proverbios , the serranillas (e