Quevedo polvo seran mas polvo enamorado

amor constante más allá de la muerte en español

Blecua Sr. was a connoisseur of the work of Francisco de Quevedo, whom he studied in a scientific and profound way. In my opinion, however, he did not succeed in establishing a concordance between the first line of the first tercet and the first line of the second tercet, in the sonnet Amor constante más allá de la muerte, which for many is among the ten best ever written in the language of Cervantes and Pablo Neruda, of San Juan de la Cruz and Rubén Darío.
Fernando Lázaro Carreter defended the plural in the second tercet, as did Pere Gimferrer, future winner of the Nobel Prize for Literature in Catalan. At a dinner in Madrid with Octavio Paz and Luis Rosales, the subject came up and the great poet, the profound Mexican intellectual, had no doubt about what Quevedo wrote. Moreover, in the posthumous edition of 1648, previously corrected by the author of the sonnet, and entrusted to the care of José Antonio González de Salas, the plural is used and Santiago Fernández Mosquera adds to that version in the magazine La Perinola.

Quevedo polvo seran mas polvo enamorado del momento

only those fourteen verses. Quevedo, like the [p. 90] great poets of the Baroque, gathers, without apparent effort, a Greco-Latin poetic tradition, which, renewed by the Italian poets and transmitted by the Petrarchists, ends up being confused with the natural expression of an era full of memories.
Well, if I were to synthesize these preliminaries, we could make little progress, because that is one of the most entangled tasks, and the skein is still to be unwound. We are dealing, therefore, with textual criticism or ecdotics, a preliminary and specialized area of Criticism, which in this case we are going to try to solve from other perspectives. The truth is that
In the process of diacritical transposition we will have to incorporate the study of sources, since often the models can clarify the meaning -even from the syntactic construction- of certain passages.
It is impossible to read this sonnet without retracing a thick critical path, in which suggestions, readings, findings are piled up… Or without listening to the harmonic of other old poetic voices (Tibullus, Petrarch, Camoens, Aldana, Cetina…), as our classical poets liked to do,

amor constante más allá de la muerte estructura

Rhina P. Espaillat, de origen dominicano, ha publicado diez libros completos y tres libros de bolsillo, que incluyen poesía, ensayos y relatos cortos, tanto en inglés como en su español nativo, y traducciones premiadas del y al español. Su obra aparece en numerosas revistas, sitios web y antologías, y ha recibido premios nacionales e internacionales.
Sus publicaciones más recientes son dos poemarios en inglés titulados Playing at Stillness y Her Place in These Designs, así como un libro de traducciones al español titulado Oscura fruta/Dark Berries: Cuarenta y dos poemas de Richard Wilbur, y un libro de traducciones al español titulado Algo hay que no es amigo de los muros/Something There Is that Doesn’t Love a Wall: Cuarenta poemas de Robert Frost, ambos disponibles en Amazon.com.
Espaillat es miembro fundador de dos prósperos grupos de poesía que imparten talleres y patrocinan lecturas de poesía: los Fresh Meadows Poets de Queens (Nueva York), donde vivió con su difunto marido, el escultor Alfred Moskowitz, durante muchos años, y los Powow River Poets de Newburyport (Massachusetts), donde vive desde 1990.

wikipedia

This poem recreates the survival of love beyond death, as its name indicates, a Petrarchan-inspired theme already treated by Garcilaso in our language. The lover imagines himself in the afterlife and declares that his love will be eternal.  It must be taken into account that at this time the «I» was the «I».
The first quatrain describes the moment of death: Death (the last shadow) will close my eyes that day when eternity (the white day) begins and that happy hour (lisonjera hour) will free my soul from the anxiety (ansioso eagerness) to reach the love it desires. (This topic of the lady, Lisi in this case, whose love is unattainable, is very common in the love poetry of the time).
The second quatrain details the journey of the soul until it reaches immortality (on the other shore of the Styx lagoon and the river Lethe) and the persistence of the memory of love: But my soul will not leave the memory of the beloved in this world of the living (the other part of the shore) where she burned in love, but knows how to cross without fear (swim knows my flame the cold water) and skip the laws of the beyond (lose respect for severe law) that impose the oblivion of the previous life to those who cross the Lethe to enter the Elysian Fields.