Satira de Infelice e Felice Vida — Peter of Portugal
By Jesús R. Velasco | Published on October 7, 2019
Pedro de Portugal’s Sátira de Infelice e felice Vida has also another title –Argos. This second name, one has to look for it in the glosses. Maybe one could say they are two different works: one, the text we find at the center of the page, could well be the Sátira de Infelice e Felice Vida, while the 100 glosses (at least, the intended number of 100 glosses) are Argos. Two works that need each other in ways that we need to explore in depth, because the links are difficult to find: what do the eyes of Argos look at, in constant surveillance, day and night?
The Sátira and Argos serve a similar purpose: they both constitute epistemological devices to talk about a suffering I who manifests itself as a passionate self. While the Sátira writes (escribe) the passionate self, Argos interprets it (declara) giving the reader the chance to understand the multifaceted processes of autography for those who not only dominate the text and its glosses, but also the very surface of the manuscript –itself an epistemological device.
There are three extant manuscripts of the Sátira de Infelice e Felice Vida:
- Madrid, BNM, Mss/4023
- Lisbon (Belém): Museu Nacional de Arqueologia Dr. Leite de Vasconcelos, sem cota.
- Barcelona, Private Collection.
Along with the manuscripts from Madrid and Lisbon, I am including Guillermo Serés edition:
Pedro de Portugal. Sátira de Infelice e Felice Vida. Ed. Guillermo Serés. Alcalá de Henares: Centro de Estudios Cervantinos, 2008.