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Florencia Pinar

Page history last edited by Lindsey Bell 11 years, 11 months ago

Florencie Pinar

 

 

 

Florencie Pinar is a 15th century Spanish love poet. Her life is not well documented and she is not as well known today as Marie de France. Though there is still a bit that is known about her through he connections through association with the court of Ferdiann and Isabella. FLorencia is belives to be the sister to a well-known poet, Geronimo Pinar. Though she did write only four poems are attributed to her. This is belived to be because her first name was not on her other poems and therefore they were attributed to Geronimo, the better-known poet. it is said through the study of her poetry that she portrayed herself as a caged bird. By doing so she was voicing her self as a "victim of men's urge to conquer and control". it is not fully understood why she did so though it can be subjected to be connected to her resistance to the dominate courtly views of love, courtly love code. It is also suggested that through her poetry FLorencia Pinar was advocating women’s right to sexual pleasure. Though over all it is stated that she is warning women of the destructive effects of love through her poetry. She is a court rebel by speaking as a subject not a sex object.

 

Florencia Pinar's poetry is recognized today as innovative and to have a "linguistically anomalous style." Through her use of the female voice it is stated that she was trying to come up with a "woman's language" to give the female voice authority. The formula that can be noticed within her work would be as fallows ; the first stanza would be five rhyming lines following the rhyme scheme ABBAB, the second stanza would be broken into two different rhyme schemes. The first four lines would follow the Redondilla formula of CDDC; while the next five lines would follow the Quintilla formula of ABBAB. Though this is not noticeable in the translated poem below.

 

 

Song by Florencia Pinar

 

Love wields so many artful ruses

 

that all who ‘gainst them are not clever

 

find Love’s subtle subterfuges,

 

once in the heart, are there forever.

 

 

 

love, when clearly, rightly seen,

 

resembles most that cancerous form

 

of nature, the snaking delving worm,

 

ravager of all that’s whole and clean.

 

Of his tricks and of his rages,

 

the storm of protest never lessen.

 

Love learn; Love’s subterfuges,

 

once in the heart, are there forever.

( Wilson 330)  

 

The poem above shows a demonstration of the concert language that Florencia Pinar uses within her poetry. Looking back at this poem the image of the worm is highly noticeable and can be connected to many different images of interpretations. one of which is most notable a phallic symbol of the male genitalia. Though some critics argue that there is no way it could be connected to the genitals but must stand for one of two things. Either the way that love enters and exists ones life of the association with not letting go would have to be the snake the Viper when it reproduces, seeing as one will stick the other with their fangs and not let go. Though she describes many aspects of love within this poem she does not mention anything close to child birthing, keeping that concept separate from love could be seen as a disconnect between love and the act of parenting a child. Yet in all love is compared to a cancer and demonstrates one suffering because of love. Along with being a warning against victimization of either love or rape.

 

Bibliography:

 

Dinshaw, Carolyn, and David Wallace, eds. The Cambridge Companion To Medieval Women's Writing. Cambridge: The P Syndicate Of The University Of Cambridge, 2003.

 

Fulks, Barbara. "The Poet Named Florencia Pinar." La Coro´nica. 18 (1989): 33-44. MLA. Miln, Geneseo. 13 Apr. 2009. Keyword: Florencia Pinar.

 

Wilson, Katharina M., ed. Medieval Women Writers. Athens: University of Georgia P, 1984.

 

Wilcox, John C. Women Poets of Spain, 1860-1990: Toward a Gynocentric Vision. Urbana: University of Illinois Press, 1997. 17-18

 

Weissberger, Barbara. "The Critics and Florencia Pinar: The Problem with Assigning Feminism to a Medieval Court Poet." Recovering Spain's feminist tradition. 2001. 31-47. Mla. Miln, Geneseo. 13 Apr. 2009. Keyword: Florencia Pinar.

 

Women In The Middle Ages An Encyclopedia. Vol. 2. New York: Greenwood P, 2004. 755-756.

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