Spanish Renaissance Literature: Humanism and Poetry

Humanism and Renaissance in Spain

Humanism: A School of Thought

Humanism was based on the “studia humanitatis,” which emphasized learning classical Latin, as it allowed direct access to the works of ancient authors. Reading these works led to imitation in the writing of poetry. In their humanistic nature, works are excited and pleased to show an optimistic and confident vision of the world.

Spain’s Collection (15th-16th Centuries)

Spain gave importance to humanistic principles. The work of Cardinal Cisneros, promoter of spiritual and cultural reform and founder of the University of Alcalá de Henares, highlights this. Humanism included the claim and study of the Spanish national language. Literature and science flourished, and Latin works were translated, with the publishing of the first grammar (A. de Nebrija).

The Renaissance and the Chivalric Ideal

During the Renaissance, there was a revival of the chivalric ideal, which supported the development of the ideal courtier.

The Renaissance Lyric

The Diffusion of Humanism

The diffusion of humanism allowed a better knowledge of classical and Italian Renaissance literature. One of its leading exponents, the Italian poet Petrarch, influenced the development of 15th-century Spanish poets such as Juan Boscán and Garcilaso de la Vega. Petrarch harmonized the legacy of cultured Provençal lyric with classical literature and the Italian poets of his generation.

Formal Aspects

Italian poetry brought two rhythmic innovations: the hendecasyllable and enjambment, which Juan Boscán introduced and recommended to Garcilaso. The Renaissance lyric joined stanzas and usual types of compositions in the Italian lyric:

  • The triplets chains
  • The lira
  • The real octaba
  • The estancia
  • The sonnet
  • The sáfica stanza

In terms of style, in the first half of the 16th century, poetry responds to the ideal of simplicity and naturalness. Renaissance poetry is expressive. Also seen is a change in style: adjectives become important, especially the use of the epithet to describe the outside world (the beauty of the landscape) and the use of metaphors to characterize the physical characteristics of the lady. The use of hyperbaton stands out.

Themes and Poetic Motifs

The new poetry developed themes from Neoplatonism, ideals of classical literature, and Italian poetry, influenced by Petrarch.

Love and Absence

The principal theme of the Renaissance lyric, which is related to the others, is love and its absence or suffering. The death of the beloved or lack of reciprocation causes pain. Themes abound that relate to love, power, and the struggle between reason and desire.

Description of Women and Nature

The description of women corresponds to the canon of beauty associated with the Renaissance and pictures of nature. Another frequent theme is nature, which is described with the tag of “locus amoenus” (pleasant place). The beauty of nature is related to love, humanizing the landscape as a projection of the poetic mood or presenting a stark contrast between beauty and the pain of the heartbroken lover.

Carpe Diem and Classical Mythology

The carpe diem tag is associated with love and encourages enjoyment. It is often presented using images related to the cycles of death and renewal of nature. Classical mythology, especially stories told in Ovid’s Metamorphoses, provides allusions to the gods and mythological beings and emblematic pairs of lovers, such as Venus and Adonis. Other themes are mixed and courtly.

Second Half of the 16th Century

In the second half of the 16th century, more diverse issues are addressed. In this period, religious poetry and especially moral poetry dominate, and the following themes are common:

  • The Beatus ille (happy one): Used to treat the pursuit of perfection in nature, by disregard for the urban and the domination of the passions.
  • Knowledge of self: Introspection, which is obtained with outreach and communication with God.

Evolution of Renaissance Poetry

Stage 1: Early 16th Century

In the early years of the 16th century, songbooks were popular, containing ballads and traditional poems. In the first half of the 16th century, the poetic renewal produced by the irruption of Petrarchan and classical lyric poetry stands out. This influence prevailed over any other genre, and the work of Garcilaso stands out.

Stage 2: Rise of Spiritual Literature

This phase corresponds with the rise of spiritual literature. These creations, inspired by biblical sources and classical and Italian ascetic-mystic influences, incorporated moral or religious issues. In poetry, Fray Luis de León and St. John of the Cross stand out. This lyric addresses two spiritual paths: the ascetic and the mystic.

Ascetic

Seeks perfection through the purification process and expresses leading to the union of the soul with God through three ways:

  • The Purification: The soul is purified and free from passions.
  • The Illuminative: The light of God guides the soul.
  • The Unitive: Full union occurs.

Mystic

The experience corresponds to the unitive way.

Garcilaso de la Vega

The Revolution of Spanish Lyric

The short work of Garcilaso was the most important revolution of the Spanish lyric and became the model for later poets.

Themes and Poetic Evolution

The theme par excellence of Garcilaso is love lyric, expressed from melancholy and sadness by the frustration or lack of the beloved. He relates nature, made to perfection with the tag of “locus amoenus,” reflecting the inner world of his poetic refuge and pain. In other poems, he tackles issues of friendship, fate, fortune, or the need to dominate his passions. In his first poems, Petrarchan in style, the influence of poetry written in a songbook tone is felt. They are written in a torn tone and dominate the resources of the songbook lyric (antithesis, polyptoton, referral).

From 1532, Garcilaso’s contact with Petrarchan poetry increases. In these years, he writes most of his work and incorporates the genres of classical tradition (the ode, the elegies…).

The Eclogues

In these lyrical compositions, some shepherds put their love complaints in an idealized environment. The three Eclogues share topics such as love and suffering for having lost or not returned.

Eclogue 1

Deals with the pain of rejection and death of the beloved, written in Petrarchan style.

Eclogue 2

Stands out for its heterogeneity and metrical variety. The first part focuses on the pain and madness of unrequited love.

Eclogue 3

Narrates that four nymphs weave along the Tagus, using real eighth.

Style

His poetic language is characterized by aspiring to a naturalness of expression, in which the use of epithets especially emphasizes. Also included are metaphors, personifications, and hyperbatons.

Fray Luis de León

Poetry in the Second Half of the 16th Century

Fray Luis de León wrote his poetry in the second half of the 16th century. His work includes original poems and translations and imitations of Petrarchan and classical poetry, as well as prose.

Original Poetic Work

Most of his lyric was published in 1631 by Quevedo. They are moral poems, except for a few religious poems. His sources are the poetry of Horace (creator of “Beatus ille”) and Virgil, as well as biblical texts. They also show the influence of Stoic philosophy and Neoplatonism.

Quietness and the Good

Quietness and the good can be achieved through the knowledge of oneself (vivere secum). These ideals are expressed in the poetry of Fray Luis with the tag Beatus ille, referring to the retired life in touch with nature, and with the rejection of worldly concerns and anxieties. The locus amoenus is the ideal place for poetry, music, and peace.

Style

In the poetic language of Fray Luis, the use of metaphors related to nature, repetition of words, anaphora, Latinisms, and hyperbole stand out. He also uses polysyndeton and asyndeton.

Works in Prose

The prose that Fray Luis composed in a style combining clarity and beauty with colloquial elements is influenced by humanistic ideas. Among the writings of the author, the following stand out:

  • Exposition of the Song of Songs
  • From the names of Christ

St. John of the Cross

Poetic Work

The poetic work of St. John is a landmark of the Western lyric. In its intensity and literary excellence, it incorporates motifs from several poetic traditions: the traditional lyric, the classical, the Italianate, and the Bible, especially “The Song of Songs.”

Poems about Adults

The mystical experience is what makes St. John of the Cross’ major works—”Dark Night of the Soul,” “Living Flame of Love,” and “Spiritual Canticle”—stand out. The poet uses a symbolic language based on human love. In the first two, the same pattern of argument is shown: the soul (the beloved or wife) searches for God (the husband), and a mystical union occurs. The three poems are written in liras.

Living Flame of Love

This very brief composition is a pure celebration of the mystical union.

Dark Night of the Soul

The poetic voice, a woman in love, announces the departure in search of the Beloved, a joyful meeting, and loving union with God.

Spiritual Canticle

With a certain dramatic structure, it also presents the woman in love searching for the Beloved in a landscape characterized as a locus amoenus.

Work in Prose

St. John’s prose consists of four mystical treatises that gloss over his poems: “Ascent of Mount Carmel” and “Dark Night.”

Poetic Style

In addition to the symbols in the production of mysticism, in St. John’s work, there are comparisons, numerous antitheses and paradoxes, and oxymorons. The use of exclamations, questions, and hyperbatons also stands out.