Santillana’s evocations range from the moral to the nostalgic, the classical to the vernacular. He does not simply reproduce the past but re-creates it as an act of cultural and emotional self-definition. In doing so, he anticipates the Renaissance while remaining rooted in medieval memoria .
In the poetry of Íñigo López de Mendoza, Marqués de Santillana (1398–1458), the act of evocación functions as both a rhetorical strategy and an emotional structure. His works frequently summon classical antiquity, courtly love ideals, and personal memory. This paper argues that Santillana’s evocations are not mere imitations but deliberate constructions of cultural authority and intimate longing. evocación santillana
In sonnets influenced by Petrarch (via the Italian Duecento ), Santillana evokes his own emotional states. Verses like «Recuerde el alma dormida» (though often misattributed, the tone is consistent) show a poet turning inward. Memory is no longer public or classical—it is personal loss. This prefigures Garcilaso’s later lyric. Santillana’s evocations range from the moral to the
In Proverbios (or Centiloquio ), Santillana evokes figures like Seneca, Aristotle, and Hercules not as erudite ornament but as moral exemplars. The poet bridges past and present through aphoristic recall, using classical authority to legitimize counsel for Juan II. Here, evocation is didactic and political. In the poetry of Íñigo López de Mendoza,