{"id":504,"date":"2026-06-11T11:31:48","date_gmt":"2026-06-11T11:31:48","guid":{"rendered":"https:\/\/palaciodelviso.com\/?p=504"},"modified":"2026-06-11T11:31:49","modified_gmt":"2026-06-11T11:31:49","slug":"les-redondillas-du-pre","status":"publish","type":"post","link":"https:\/\/palaciodelviso.com\/?p=504&lang=fr","title":{"rendered":"LES \u00abREDONDILLAS\u00bb DU PR\u00c9"},"content":{"rendered":"\n
Sur la Plaza del Pradillo \u00e0 Viso del Marqu\u00e9s se dresse une statue de Don \u00c1lvaro de Baz\u00e1n. Sur l’un des c\u00f4t\u00e9s du pilier qui la soutient, une fa\u00efence reproduit deux quatrains de Lope de Vega d\u00e9di\u00e9s \u00e0 Don \u00c1lvaro. Les voici\u00a0:<\/p>\n\n\n\n
El fiero turco en Lepanto, en la Tercera el franc\u00e9s y en todo el mundo el ingl\u00e9s tuvieron de verme espanto. Rey servido y patria honrada dir\u00e1n mejor qui\u00e9n he sido por la cruz de mi apellido y con la cruz de mi espada. <\/pre>\n\n\n\n
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La relation de L\u00e9pante avec Don \u00c1lvaro et Cervantes est bien connue. L’auteur de Don Quichotte<\/em> fait l’\u00e9loge du marquis de Santa Cruz, qui a eu une intervention si remarquable dans la bataille qui a \u00e9vit\u00e9 le danger turc qui mena\u00e7ait de toute urgence le christianisme.<\/p>\n<\/div>\n\n\n\n
\nDon \u00c1lvaro de Baz\u00e1n<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\nCervantes, le Manchot de L\u00e9pante<\/em><\/em><\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Il dit de lui qu\u2019il est \u00ab un \u00e9clair de guerre, un p\u00e8re de soldats, un capitaine chanceux et jamais vaincu \u00bb. Cervant\u00e8s, le Manchot de L\u00e9pante<\/em>, portera fi\u00e8rement son handicap, non pas parce qu\u2019il est n\u00e9 d\u2019une querelle de taverne, \u00ab mais lors de la plus grande occasion que les si\u00e8cles pass\u00e9s ont connue, que le pr\u00e9sent a connue et que les si\u00e8cles futurs conna\u00eetront \u00bb.<\/p>\n<\/div>\n<\/div>\n\n\n\n
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Cependant, la relation de Lope de Vega avec notre marquis est moins connue. Pour l’expliquer, il faut se r\u00e9f\u00e9rer \u00e0 la mention, dans le premier quatrain, de Las Terceras, nom donn\u00e9 aux \u00eeles portugaises des A\u00e7ores.<\/p>\n<\/div>\n\n\n\n
\nLope de Vega<\/figcaption><\/figure>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
Le roi S\u00e9bastien du Portugal mourut \u00e0 Alcazarquivir en 1578, et son successeur, le cardinal Henri, d\u00e9c\u00e9da deux ans plus tard. La couronne fut alors disput\u00e9e par Antonio, prieur de la riche abbaye de Crato, et notre roi Philippe II. Antonio de Crato se proclama roi. Philippe II rejeta cette d\u00e9cision et envahit le Portugal par voie terrestre. Les Cortes portugaises de Tomar proclam\u00e8rent Philippe II roi. Cependant, les A\u00e7ores apport\u00e8rent leur soutien au prieur de Crato.<\/p>\n\n\n\n
Ce dernier parvint \u00e0 s’\u00e9chapper, emportant avec lui les joyaux de la Couronne. Gr\u00e2ce au produit de leur vente, ainsi qu’\u00e0 des fonds et au soutien \u2013 navires et hommes \u2013 de France et d’Angleterre, il rassembla une flotte pour reconqu\u00e9rir le tr\u00f4ne.<\/p>\n\n\n\n
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La flotte de Crato sera vaincue \u00e0 Terceira par \u00c1lvaro de Baz\u00e1n. Et l\u00e0, sous son commandement, \u00e0 seulement 19 ans, soldat de la marine et volontaire pour l’arm\u00e9e espagnole, se trouvera le jeune po\u00e8te madril\u00e8ne F\u00e9lix Lope de Vega y Carpio, qui, comme Jorge Manrique, Garcilaso ou Cervantes avant lui, et, plus tard, Calder\u00f3n de la Barca et tant d’autres, voulait prouver son courage et accro\u00eetre son honneur en servant comme soldat.<\/p>\n<\/div>\n\n\n\n
Les paroles suivantes sont mises dans la bouche d’un des personnages de la pi\u00e8ce Le Vaillant Ch\u00e2ti\u00e9<\/em>:<\/p>\n\n\n\n
El Marqu\u00e9s de Santa Cruz con cinco galeones parte, treinta naos, doce galeras y doce armados patajes, dos galeazas, quince cebras, siete barcas chatas grandes, con catorce carabelas y con nueve mil infantes de bizarros espa\u00f1oles, italianos y alemanes; cuatro mil hombres de mar en faenas y balances, y cincuenta aventureros, se\u00f1ores particulares.<\/pre>\n\n\n\n
Le personnage relate ensuite le d\u00e9roulement des op\u00e9rations et termine par une c\u00e9l\u00e9bration.<\/p>\n\n\n\n
\u201cnuestro ej\u00e9rcito triunfante, y quedando victoriosa la gloria de los Bazanes\u201d.<\/pre>\n\n\n\n
Ce ne fut pas la seule aventure militaire du grand dramaturge, car cinq ans plus tard, il s’engagea, toujours comme volontaire, dans ce qu’on appelait, non sans ironie, \u00ab l’Invincible Armada \u00bb. Il y perdit son jeune fr\u00e8re, Juan, et il est probable que ces vers fassent r\u00e9f\u00e9rence \u00e0 lui (et non \u00e0 Lope lui-m\u00eame) :<\/p>\n\n\n\n
Ce\u00f1\u00ed en servicio de mi Rey la espada antes que el labio me ci\u00f1ese el bozo que para la cat\u00f3lica jornada no se excusaba generoso mozo.<\/pre>\n\n\n\n
Et il semble que ce soit le cas, car \u00e0 25 ans, il est peu probable que Lope soit encore imberbe.<\/p>\n\n\n\n
Lorsque Lope apprit plus tard la d\u00e9faite et la mort du corsaire britannique Drake, il la c\u00e9l\u00e9bra dans son po\u00e8me \u00e9pique \u00ab La Dragontea \u00bb, dont la couverture repr\u00e9sentait un aigle (celui des Autrichiens) d\u00e9vorant un dragon (r\u00e9f\u00e9rence au nom de Drake), avec la devise \u00ab Tandem aquila vincit \u00bb (L’aigle enfin vaincu). Lope de Vega montre sa grande ma\u00eetrise du vocabulaire traditionnel de la mer, dans ces deux octaves royales :<\/p>\n<\/div>\n<\/div>\n\n\n\n
Arde el baupr\u00e9s, mesana, \u00e1rbol, trinquetes, como si fueran d\u00e9biles tomizas, coronas, aparejos, chafaldetes, velas, escotas, brazas, trozas, trizas, Brandales, racamentas, gallardetes, brioles, aflechates son cenizas, amantillos, bolinas y cajetas, estay, obencaduras y jaretas. Ya del cabo del balde no se trata, porque desde la gavia hasta la quilla el a\u00f1udado le\u00f1o se desata, y el fuego hasta las bombas aportilla. Crece la luz, la llama se dilata, la aguja, la bit\u00e1cora y la silla deja el piloto, viendo las estrellas del Norte en la menor de las centellas. <\/pre>\n\n\n\n
Et la mer s’invite \u00e9galement dans l’imagination du po\u00e8te lorsqu’il exprime ses appr\u00e9hensions dans ce c\u00e9l\u00e8bre po\u00e8me qui commence ainsi :<\/p>\n\n\n\n
\u00a1Pobre barquilla m\u00eda, entre pe\u00f1ascos rota, sin velas desvelada y entre las olas sola!<\/pre>\n\n\n\n
Revenons, pour conclure, aux premiers vers, au deuxi\u00e8me quatrain, qui exprime avec tant de concision les bonnes raisons qui animaient les Espagnols du Si\u00e8cle d’or d’\u00eatre braves : le service du Roi, l’honneur de la patrie, l’honneur personnel et la d\u00e9fense de la Croix qui les unissait.<\/p>\n\n\n\n
Ce sont pratiquement les m\u00eames raisons pour lesquelles, selon Don Quichotte, un homme peut et doit risquer sa vie.<\/p>\n\n\n\n
LE SONNET DE L’\u00c9GLISE<\/p>\n\n\n\n
Nous avons vu des romances (si appropri\u00e9es aux \u00ab relations \u00bb, selon le Nouvel Art d’\u00e9crire des pi\u00e8ces de th\u00e9\u00e2tre<\/em>), des redondilles (avec leurs vers octosyllabiques agiles, caract\u00e9ristiques de notre tradition litt\u00e9raire populaire et \u00e9galement tr\u00e8s appr\u00e9ci\u00e9s des auteurs \u00e9rudits), et des octaves (strophes typiques des po\u00e8mes \u00e9piques savants de l’\u00e9poque).<\/p>\n\n\n\n
Le sonnet, import\u00e9 d’Italie, ne pouvait manquer. C’est celui-ci qui figure, comme monument fun\u00e9raire litt\u00e9raire d\u00e9di\u00e9 au marquis, sur la fa\u00e7ade de l’\u00e9glise de notre ville :<\/p>\n\n\n\n
Aunque de roble y de laurel no enrames, Espa\u00f1a, este sagrado mauseolo, sino de lienzos que combate Eolo, velas, bastardos, gavias y velames.
Aunque C\u00e9sar mar\u00edtimo le llames, y en vez de Dafnes, la que adora Apolo, sus nobles sienes ci\u00f1a coral solo. A pesar de la envidia y odio infames,
de ning\u00fan capit\u00e1n de tierra debes honrarte m\u00e1s que del Baz\u00e1n famoso, Cruc\u00edgero Neptuno, Marte Hispano.
Llora que le perdiste en a\u00f1os breves, pues era con su brazo belicoso Argos de nuestra fe, Jas\u00f3n cristiano.<\/pre>\n\n\n\n
Le po\u00e8te imagine alors le mausol\u00e9e du \u00ab c\u00e9l\u00e8bre Baz\u00e1n \u00bb, orn\u00e9 des voiles de ses navires gonfl\u00e9es par le vent, et la statue fun\u00e9raire du marin entour\u00e9e non de lauriers, mais de corail. Il s\u2019adresse \u00e0 l\u2019Espagne, la priant de l\u2019honorer plus que tout autre guerrier terrestre, car il a port\u00e9 la Croix de notre foi par-del\u00e0 les mers, et de pleurer sa mort pr\u00e9matur\u00e9e.<\/p>\n\n\n\n
Le sonnet rec\u00e8le de nombreuses et vari\u00e9es r\u00e9f\u00e9rences mythologiques<\/strong>, si caract\u00e9ristiques des p\u00e9riodes Renaissance et Baroque.<\/p>\n\n\n\n
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Les voiles qui propulsent les navires sont les toiles que combat \u00c9ole, dieu du vent.<\/li>\n\n\n\n
Daphn\u00e9 (au pluriel) est ici interpr\u00e9t\u00e9e comme une m\u00e9taphore des lauriers. Comme chacun sait, la nymphe Daphn\u00e9, aim\u00e9e d’Apollon, poursuivie par le dieu, implora la protection de son p\u00e8re, le fleuve P\u00e9n\u00e9e, et fut transform\u00e9e en laurier pour \u00e9chapper \u00e0 son agression.<\/li>\n\n\n\n
Don \u00c1lvaro est assimil\u00e9 \u00e0 Neptune, faisant du dieu de la mer un h\u00e9ros chr\u00e9tien, porteur non du trident mais de la Croix (Neptune crucifix).<\/li>\n\n\n\n
Le dieu romain de la guerre est hispanis\u00e9 en Don \u00c1lvaro\u00a0: Mars Hispano.<\/li>\n\n\n\n
Enfin, Don \u00c1lvaro est l’Argos de notre foi, le Jason chr\u00e9tien. Une fois encore, deux h\u00e9ros grecs sont christianis\u00e9s en la personne du marquis de Santa Cruz, qui, dans leur qu\u00eate du fabuleux tr\u00e9sor de la Toison d’or, symbolisent l’esprit d’aventure des marins. Les aventures guerri\u00e8res du \u00ab C\u00e9sar maritime \u00bb acqui\u00e8rent ainsi une signification transcendante.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"
Sur la Plaza del Pradillo \u00e0 Viso del Marqu\u00e9s se dresse une statue de Don \u00c1lvaro de Baz\u00e1n. Sur l’un […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[41],"tags":[],"class_list":["post-504","post","type-post","status-publish","format-standard","hentry","category-explora-el-palacio-fr"],"yoast_head":"\n
LES "REDONDILLAS" DU PR\u00c9 - Palacio del Viso<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/palaciodelviso.com\/?p=504&lang=fr\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"LES "REDONDILLAS" DU PR\u00c9 - Palacio del Viso\" \/>\n<meta property=\"og:description\" content=\"Sur la Plaza del Pradillo \u00e0 Viso del Marqu\u00e9s se dresse une statue de Don \u00c1lvaro de Baz\u00e1n. 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