The Myth of Apollo and Daphne in Spanish Renaissance Literature

Apollo and Daphne: From Ovid to the Spanish Golden Age

Ovid, a Latin poet of the 1st century, tells the story of Daphne and Apollo in his work Metamorphoses. In this text, they are referred to by their Roman names: Phoebus and Peneide. He was the god of the field, and she was a nymph, the daughter of an Italian river god.

Garcilaso de la Vega and the Pastoral Tradition

Garcilaso de la Vega, a prominent figure of the first half of the 16th century, was the first to introduce the sonnet to Spanish literature, with 38 of his sonnets preserved today. He also wrote pastoral eclogues—poems set in an idealized nature focusing on themes of love. In his work, he describes the moment Daphne transforms into a laurel tree. It is believed he was influenced by Ovid's novel or perhaps a painting depicting the scene.

In his third Eclogue, Garcilaso depicts nymphs by the Tagus River in Toledo weaving a tapestry that illustrates the myth of Apollo and Daphne.

Pastoral Novels and the 16th Century

During the second half of the 16th century, pastoral novels gained popularity. Notable works include:

• Jorge de Montemayor: His Songbook (1554) features the story of Apollo and Daphne, utilizing hendecasyllables with internal rhyme.
• Internal Rhyme: A technique where the last word of a verse rhymes with the middle of the next.

The 17th Century: Expansion and Parody

In 1602, Alonso Pérez included the myth in the second part of Reveille, adding details regarding Apollo's grief and the physical beauty of the god. He notes that the evergreen laurel serves as a symbol of protection for the family, as it is immune to lightning strikes.

Late Renaissance and Baroque Interpretations

Other significant literary contributions include:

• Fernando de Herrera: Followed Garcilaso's trend, modeling his love poetry on Ovid.
• Gregorio Silvestre: Authored the Fable of Apollo and Daphne.
• Francisco de Quevedo: Represented the duality of the Baroque era:
  • Serious/Loving: His early work treats the myth with sentiment and complexity.
  • Satirical/Burlesque: His later work parodies the myth, even humorously discussing the use of laurel leaves in cooking to marinate game.