A Literary Journey Through Medieval and Renaissance Spain

Posted on Sep 24, 2024 in Latin

X-XI: LYRIC

Jarcha Mozarabic:

Mozarabic love poems, often featuring a female lament. They are characterized by their short and simple structure.

XII: LYRIC

Cantigas de Amigo:

Galician-Portuguese love poems, typically featuring a female lament and brief references to nature.

Carols Castilian:

These carols share themes with jarchas and ballads (often love). They are characterized by their simple composition and use of a chorus.

Courtly Love:

A literary concept popular in medieval Europe, courtly love describes the love of a man for a woman, often unrequited. The man is portrayed as the woman’s humble servant. Troubadours, minstrels in castles and palaces, often wrote about this type of love.

FICTION AND PROSE (in Verse)

Epics:

Epics are lengthy narrative poems celebrating the deeds of a hero. They are characterized by their irregular meter, assonant rhyme, and use of verse. Originally sung by minstrels, epics were often anonymous and recited in public squares.

Cantar de Mio Cid (Song of My Cid):

• Date: 12th Century
• Author: While the author is unknown, it is believed to have been written by one or more learned minstrels. Menéndez Pidal theorized it was the work of two minstrels, while Per Abbat is credited as the copyist.
• Topic: The honor of a hero.
• Parts:
  1. Exile: The Cid’s moral and political disgrace.
  2. Song of the Weddings: The Cid’s daughters are married, but misfortune follows.
  3. The Shame of Corpes: The Cid’s daughters are dishonored, leading to a trial by duel and eventual justice.
• Metrics: Irregular, with long lines (10 to 20 syllables) and assonant rhyme. The poem uses a caesura, dividing each line into two halves.
• Characters: King Alfonso VI, Rodrigo Díaz de Vivar “El Cid” (a brave warrior, loyal friend, and generous leader), and others.
• Argument: The Cid is falsely accused and exiled. He fights to regain his honor, eventually clearing his name and achieving justice for his family.
• Technical Data: The poem uses techniques like addressing the audience, employing epithets to describe the hero, repeating key phrases, referencing God, and using both direct and indirect style. The language is generally clear and concise.

Mester de Juglaría:

A medieval Spanish literary movement characterized by its use of irregular meter, assonant rhyme, anonymous authorship, and focus on heroic themes. The Cantar de Mio Cid is a prime example of this style.

XIII: THEATER

Medieval Spanish theater had its roots in religious ceremonies of the 10th, 11th, and 12th centuries. Initially performed inside churches, these performances were connected to Christmas and Easter celebrations. As time passed, performances moved to the streets and were used for entertainment and religious instruction.

Religious Drama: Auto de los Reyes Magos (The Play of the Magi):

This late 12th-century play, written in 147 polymetric verses, tells the story of the Three Kings following the star to Bethlehem. The play explores their doubts and the implications of Jesus’s birth, including Herod’s reaction and his demand to be informed of the Messiah’s location.

Profane Drama: Danza de la Muerte (Dance of Death):

Popular in the late Middle Ages, the Dance of Death reflects the societal anxieties and crises of the time. The central theme is the equalizing power of death, which spares no one regardless of their wealth, status, or age. The play depicts individuals from all walks of life joining hands in a macabre dance.

XIII: FICTION AND PROSE (in Verse)

Mester de Clerecía:

A literary movement cultivated by educated clergymen. It is characterized by its use of regular meter, consonant rhyme, stanzas of four verses (often alexandrines), and attribution to known authors (typically monks or clergymen). Works in this style often focused on religious, moral, or educational themes.

Authors:

Gonzalo de Berceo:

• A cleric associated with the monastery of San Millán de la Cogolla.
• Known for his use of simple, accessible language to reach a wider audience.
• Works:
  • Vidas de Santos (Lives of Saints), including “Vida de San Millán de la Cogolla” and “Vida de Santo Domingo de Silos.”
  • Milagros de Nuestra Señora (Miracles of Our Lady), a collection of Marian miracles featuring a variety of characters and situations.

FICTION AND PROSE (in Prose)

Authors:

Alfonso X the Wise:

• King of Castile and León (1221-1284).
• A patron of learning and the arts, he made significant contributions to the development of the Spanish language, literature, science, and law.
• His court was a center of intellectual exchange, bringing together scholars from diverse backgrounds.
• Works:
  • Personal Works: Love poems, satirical verses, and religious works (often in Galician).
  • Prose Works:
    • Siete Partidas (Seven-Part Code): A comprehensive legal code.
    • Scientific and Entertainment Works: Including “Libros del Saber de Astronomía” (Books of Astronomical Knowledge) and “Libro de Acedrex” (Book of Chess).
    • Historical Works: “Estoria de España” (History of Spain) and “Crónica General” (General Chronicle).

XIV: FICTION AND PROSE (in Verse)

Mester de Clerecía:

Authors:

Pedro López de Ayala:

A prominent figure in 14th-century Castile, known for his historical chronicle and other works.

Juan Ruiz, Archpriest of Hita:

• Author of Libro de Buen Amor (The Book of Good Love).
• Little is known about his life, but he is believed to have been a clergyman.

Libro de Buen Amor (The Book of Good Love):

• Content and Organization: A diverse collection of stanzas (primarily using the cuaderna vía), incorporating fables, stories, parables, and both secular and religious poetry. The work is framed as a pseudo-autobiography, with the narrator recounting his amorous adventures.
• Themes: Love, desire, the complexities of human relationships, and the tension between earthly and spiritual love.
• Literary Style: Characterized by its rich language, varied syntax, and use of humor, irony, and satire.
• Interpretation: The work’s meaning is open to interpretation. While it offers a satirical and often humorous take on love and relationships, it also raises questions about morality, spirituality, and the nature of true happiness.

XIV: FICTION AND PROSE (in Prose)

Mester de Clerecía:

Authors:

Don Juan Manuel:

• Nephew of Alfonso X the Wise.
• Known for his didactic and moralistic prose works.
• Works:
  • El Conde Lucanor (Count Lucanor): A frame story collection offering moral guidance through a series of tales and examples.

XV: LYRIC

Singer:

During this period, singers performed in the courts of nobles and kings. Songbooks, known as cancioneros, were compiled to collect this poetry. Notable examples include the Cancionero de Baena and the Cancionero de Estúñiga, which featured love, satirical, and general themes.

Authors:

Marqués de Santillana:

• (1398-1458)
• Known for his moral and philosophical works, often incorporating proverbs.
• Works: “Infierno de los Enamorados” (Hell of Lovers), “Comedieta de Ponza” (Comedy of Ponza), and others.

Jorge Manrique:

• (144? -1479)
• From a powerful Castilian family, he was the son of Rodrigo Manrique, Master of the Order of Santiago.
• Works:
  • His body of work consists of 49 poems, mostly love poems, with some satirical and elegiac pieces.
  • Coplas por la Muerte de su Padre (Verses on the Death of His Father):
    • Genre: An elegy expressing grief over the death of his father, Don Rodrigo. The poem integrates themes of death, legacy, and the example of a virtuous life.
    • Metric: 40 nine-line stanzas, each with a specific rhyme scheme (ABABCDDCD).
    • Structure: The poem is divided into three sections, reflecting on the fleeting nature of life, the universality of death, and the enduring legacy of a virtuous life.
    • Themes and Motifs: The poem explores the vanity of earthly pursuits, the inevitability of death, and the importance of living a meaningful life.

Romance:

Anonymous narrative poems characterized by their use of assonance, lack of consonant rhyme in odd-numbered lines, and focus on storytelling. Romances often feature a blend of lyrical and epic elements.

XV: FICTION AND PROSE (in Prose)

La Celestina:

• Text, Title, and Author:
  • Originally titled Comedia de Calisto y Melibea (Comedy of Calisto and Melibea), the work was first published in 1499 in Burgos with 16 acts.
  • Later editions appeared with variations, including the addition of a letter from “the author to his friend” and acrostic verses.
  • An 1502 edition expanded the work to 21 acts and changed the title to Tragicomedia de Calisto y Melibea (Tragicomedy of Calisto and Melibea).
  • The authorship is attributed to two individuals:
    • An unknown author is believed to have written the first act.
    • Fernando de Rojas, a converso (Jewish convert to Christianity) with a broad education, is credited with writing the remaining 20 acts.
• Genre:
  • While often categorized as a novel due to its length, character development, and exploration of themes, La Celestina also exhibits elements of drama, particularly in its dialogue-driven structure.
• Themes:
  • Love: The play explores the complexities of love, from passionate desire and idealization to the destructive nature of obsession and lust.
  • Magic: Celestina, a cunning procuress, uses potions, spells, and her knowledge of human nature to manipulate others.
  • Death: The play ultimately ends in tragedy, highlighting the fragility of life and the consequences of unchecked desire.
• Organization:
  • The play is structured around dialogue, ranging from lengthy, eloquent speeches to rapid exchanges and comic banter.
  • The use of monologues allows characters to express their inner thoughts and feelings.
• Space and Time:
  • The play is set in specific locations, including the homes of Calisto, Melibea, and Celestina, as well as the streets and squares of the city.
  • The time frame is compressed, unfolding over a short period.
• Language and Style:
  • The play employs a range of linguistic registers, from the refined and elevated language of the upper classes to the colloquial speech of the servants and lower classes.
• Author’s Intention:
  • While the play offers entertainment and social commentary, it also carries a moral message, cautioning against the dangers of unchecked passion, greed, and the exploitation of others.

XV: REBIRTH: SONNETS

The sonnet, a 14-line poem with a specific rhyme scheme (typically ABBA ABBA CDCDCD or ABBA ABBA CDE CDE), experienced a resurgence during the Renaissance. Poets like Garcilaso de la Vega explored themes of love, beauty, and the passage of time through this form. Fray Luis de León and San Juan de la Cruz used the sonnet to express religious and mystical ideas.

Humanism:

A key intellectual movement of the Renaissance, humanism emphasized the study of classical Greek and Roman culture, placing a renewed focus on human reason, potential, and virtue. Humanists believed in the power of education to cultivate well-rounded individuals.

The Court:

The Renaissance court served as a center of culture and patronage. The ideal courtier was expected to be skilled in both arts and arms, embodying the humanist ideal of a well-rounded individual. Garcilaso de la Vega exemplified this ideal.

Erasmus:

Desiderius Erasmus of Rotterdam, a prominent humanist scholar, advocated for religious reform and a return to the original teachings of Christianity. He criticized the abuses of the Church and emphasized the importance of inner piety and personal morality.

Neoplatonism:

Inspired by the philosophy of Plato, Neoplatonism influenced Renaissance thought, particularly in its emphasis on the pursuit of ideal beauty, the contemplation of higher truths, and the connection between the material and spiritual realms.

Periods:

• Era of Charles I (first half of the 16th century): Marked by the influence of Italian and Northern European Renaissance ideas.
• Epoch of Philip II (second half of the 16th century): Characterized by religious conflict and the rise of the Counter-Reformation.

Influence of Petrarch:

Francesco Petrarca, an Italian Renaissance poet, had a profound influence on Spanish literature, particularly in the realm of love poetry. His sonnets, with their characteristic octave-sestet structure, became a model for Spanish poets.

Topics:

• Forms:
  • Hendecasyllable (11 syllables)
  • Heptasyllable (7 syllables)
  • Sonnet
  • Lira (a combination of 11- and 7-syllable lines)
  • Octava Real (an eight-line stanza)
• Themes:
  • Love: Petrarchan love conventions, unrequited love, the pain and pleasure of desire.
  • Nature: The beauty of the natural world, pastoral scenes, the locus amoenus (an idealized natural setting).
  • Mythology: Drawing on classical Greek and Roman myths.
  • Carpe Diem: Seizing the day and enjoying the present moment.
  • Religious: Asceticism, mysticism, the pursuit of spiritual enlightenment.

XVI: BAROQUE

The Baroque period in Spain (roughly the 17th century) was a time of political and economic decline, marked by a sense of pessimism and disillusionment. This cultural shift is reflected in the literature of the time, which often explores themes of disillusionment, the fleeting nature of life, and the tension between appearance and reality.

Characteristics of Baroque Literature:

• Pessimism and Disillusionment
• Carpe Diem (Seize the Day)
• Satire and Social Criticism
• Transformation of Traditional Themes (Love, Mythology)
• Complex Imagery and Metaphor
• Playfulness with Language

Two Main Trends:

1. Culteranismo:

• Associated with Luis de Góngora.
• Emphasis on elaborate language, complex metaphors, and obscure vocabulary (cultismos).
• Focus on formal beauty and stylistic experimentation.
• Themes of disillusionment, skepticism, and the desire to escape from reality.

2. Conceptismo:

• Associated with Francisco de Quevedo.
• Emphasis on wit, ingenuity, and the play of ideas (conceptos).
• Use of puns, double entendres, and paradoxical statements.
• Concise and often satirical style.
• Themes of love, death, time, and disillusionment.

Lope de Vega and the Spanish Theater:

• Lope de Vega, a prolific playwright, revolutionized Spanish theater.
• He broke away from the classical unities of time, place, and action, creating a more dynamic and engaging theatrical experience.
• His plays often featured complex plots, a mix of comic and tragic elements, and a focus on popular themes and characters.

VERSE FORMS:

• Cuaderna Vía: Four-line stanza with consonant rhyme (AAAA).
• Lira: Five-line stanza with a specific rhyme scheme (7a 11B 7a 7b 11B).
• Redondilla: Four-line stanza with consonant rhyme (abba).
• Sonnet: 14 lines with a specific rhyme scheme (ABAB CDCD EFEF GG or ABBA ABBA CDE CDE).
• Romance: A ballad form with an indefinite number of lines, using assonance in even-numbered lines and leaving odd-numbered lines unrhymed.

LITERARY FIGURES:

• Anaphora: Repetition of a word or phrase at the beginning of successive clauses or verses.
• Polysyndeton: Use of conjunctions in close succession.
• Asyndeton: Omission of conjunctions between clauses or phrases.
• Epithet: An adjective or descriptive phrase expressing a quality characteristic of the person or thing mentioned.
• Ellipsis: Omission of a word or phrase that is grammatically necessary but can be understood from the context.
• Hyperbaton: Inversion of the usual order of words or phrases.
• Parallelism: Similarity of structure in a pair or series of related words, phrases, or clauses.
• Comparison (Simile): A figure of speech involving the comparison of one thing with another using “like” or “as.”
• Metaphor: A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.
• Synesthesia: The production of a sense impression relating to one sense or part of the body by stimulation of another sense or part of the body.
• Paradox: A seemingly absurd or self-contradictory statement or proposition that when investigated or explained may prove to be well founded or true.
• Personification: The attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form.
• Antithesis: A person or thing that is the direct opposite of someone or something else.
• Apostrophe: An exclamatory passage in a speech or poem addressed to a person (typically one who is dead or absent) or thing (typically one that is personified).