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91

«mentre la Venere [of the Birth] è luce nella luce, la Primavera (si direbbe forse oggi simbolicamente) è luce sull'ombra». Op. cit., p. 324.

 

92

This is exactly how Cervantes understood the Primavera, since, as I have stressed, in La Galatea he presents his inspiration in two very meaningful parts: the first in the darkness of the forest, and the second in the sunlight. Just why Cervantes depicts Mercury in the dark portion of the Primavera is difficult to answer at this point, since it depends on the allegorical nature of the shepherd Lisandro's story.