prison. He continues with this imagery
arrastro‟ in order to depict the voicewithin that he fails to liberate. He expresses his wish to „be‟ Orpheus,
ability to do so is undermined through the use of „pruebo‟.
In this way he expresses alack of confidence in his poetic ability.
According to Torres, “the emotional whirlpool of the quatrains too quickly dissolves
into the matter-of-fact
sketching of his internal landscape in the tercets”.
He gives his
poetry a landscape by extending it into Hades through the „furias‟ and thus opening uphis metaphor. He refers to love as a tyrant, „el Amor fuego y tirano‟, controlling the
ch he has internalized. He blames himself for his suffering, „culpamía‟, that is, he is responsible for his own condemnation into Hades. Love is depicted
as the 'dueño sin piedad', however this merciless tyrant is not explicitly referred to,rather a fema
le presence is implied syntactically „enemiga‟. In this way Quevedo
presents a level of ambiguity, is 'she' really present?. Torres states that "the doubleblow on which this sonnet ends takes amorous lyric a step closer to amoroustragedy".
precio ni rescate
l‟armonia‟, that is, unlike Orpheus,
which refers to Quevedo's „song‟, fails in its attempt to rescue him.
Through his exploitation of the Orphic myth he intensifies his suffering. Furthermore,as a result of this association, the reader expects his suffering to be finally consoled
Torres, Isabel, “Shades of significance in Quevedo‟s Internal Hades: OrphicResonance and Latin Intertexts in the Love Poetry”,
, 2 (1996), 5-36
Torres, Isabel, “Shades of significance in Quevedo‟s Internal Ha
Resonance and Latin Intertexts in the Love Poetry”,
, 2 (1996), 5-36