Читать книгу History of Spanish and Portuguese Literature (Vol. 1&2) - Friedrich Bouterwek - Страница 25

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Between the works of the above poets, all of which are to be found in the Cancionero general, and the other poems contained in the same collection, whether their authors lived in the first or the second half of the fifteenth century, there is a very striking resemblance. This collection, so remarkable in its kind, may therefore be regarded as a single work, which, together with a portion of the General Romance Book (Romancero general), embraces nearly all the Castilian poetry of the fifteenth century. No other remains of Spanish poetry, belonging to the same age, are sufficiently important to be brought into comparison with this national treasure. It may not, then, be improper to introduce here, a few particulars respecting the history of the Cancionero general. Of the Romancero general some further account must hereafter be given.

The bibliographic notices towards the history of the collections of Spanish poetry, to be found in the works of various authors, readily explain why many old Spanish poems and names of poets have been either totally lost, or are still only preserved in manuscript in a way which renders them foreign to literature. It appears that having been withheld from the press, on the introduction of printing into Spain,102 they were forgotten as soon as other collections were made known by means of that art. In the reign of John II. Alphonso de Baena, who himself wrote in verse, prepared a collection of old lyric pieces, under the title of Cancionero de Poetas Antiguos. This collection, though still preserved in the library of the Escurial, was never printed;103 but a list of the poets whose works are contained in it, has appeared, and includes names which do not occur elsewhere. Alvarez de Villapandino is mentioned as a particularly excellent “master and patron of the said art,” namely, poetry. Sanchez Salavera, Ruy Paez de Ribera, and others, of whom besides their names, nothing else is known, are also cited. It is not very probable that Alphonso de Baena’s collection was the origin of that which subsequently appeared under the title of the Cancionero general. Of this celebrated collection it is merely known that it was originally produced by Fernando del Castillo, at the commencement of the sixteenth century, and within a short period frequently augmented and reprinted. Fernando del Castillo began his collection with the poets of the age of John II. He did not, however, take the trouble to carry on the series in chronological order through the fifteenth century. He places the spiritual poems before the rest. He then gives the works of several poets of the reign of John II. mingled with others of more recent date, but so arranged, that the productions of each author seem to be kept distinct. After, however, the works are thus apparently given, other poems follow under particular heads, partly by the same and partly by different authors, whose names are sometimes mentioned and sometimes not: there are also a few Italian sonnets, and some coplas in the Valencian language. In proportion as the collection extended, the additions were always inserted at the end of the book. In the oldest editions the number of poets mentioned amounts to one hundred and thirty-six.104

A nation which can enumerate one hundred and thirty-six song writers in a single century, and which also possesses a great number of songs by unknown authors, produced within the same period, may well boast of its lyric genius; and the literary historian, before he proceeds to a closer review of this collection, may reasonably expect to find in it a full and true representation of the national character. Thus the old Spanish Cancionero is even more interesting to the philosophic observer of human nature than to the critic.

The Spiritual Songs, (Obras de Devocion,) at the head of the collection, probably will not fulfil the expectations which may be formed respecting them. It is natural to presume that in a nation so poetically inclined, and in an age when, for the most part, nature was followed without reference to the rules of art, the poets could not fail to view Christianity on its poetic side. But the scholastic forms of the existing theology crushed the genius of poetry; and the unpoetic side of Christianity, because it was the most learned, was alone deemed worthy the strains of the Spanish poets of the fifteenth century. They likewise seldom ventured to give scope to the fancy in devotional verses, because the nation was accustomed to the most implicit faith in every dogma of the church, and the recognition of the sacredness of literal interpretation was identified with orthodoxy, long before the terrors of the inquisition and its burning piles were known. This rigid orthodoxy of the Spanish Christians was a consequence of their war of five hundred years duration with the Moors. Throughout that long period the Spanish knight invariably fought for religion and his country; and from the constant hostility that prevailed between the Christian and Mahometan faiths, the Spanish Christians were wont to make a parade of their creed, as the Christians of the east are accustomed to do at the present day. Hence the strictest formality was observed in all matters connected with religion; and great as was the enthusiasm of the Spaniards in the fifteenth century, it produced few, if any, lyric compositions, containing more poetry than a common hymn. Whether reference be made to the Twenty Perfections of the Holy Virgin,105 (Obra en loor de veinte excellencias de nuestra Señora), by Juan Tulante, who is the author of most of the spiritual songs in the Cancionero general; to the play on the five letters of the name Maria,106 by the Visconde de Altamira; or to Fernan Perez de Guzman’s versions of the Ave Maria and Paternoster,107 which could not have been more dryly and formally written in prose; we find in all the same monotony without any poetic adaptation of the materials.

The moral poems of this collection do not weigh heavier in the scale of poetic merit. The art which the ancients possessed of introducing moral ideas into the region of poetry, was not attainable by the pupils of the monastic schools. They allegorized either virtues or vices according to the catalogue and definitions of the scholastic philosophy; or they made common place observations on human life, sometimes with declamatory pomp, sometimes with real warmth of feeling, and occasionally in agreeable verse, though destitute of any poetic spirit. Gomez Manrique with commendable frankness addressed a didactic poem on the Duties of Sovereigns (Regimiento de Principes) in redondillas, to Queen Isabella and her husband Ferdinand of Arragon; but however valuable the truths which he wished to impart to the royal pair, he could only express them in versified prose.108 The moral coplas of his nephew Jorge Manrique present somewhat stronger claims to poetic merit; they were subsequently glossed as a National Book of Devotion, and were held in high estimation up to a recent period.109 In the moral as well as in the spiritual songs the character of the nation is manifest. With equal warmth of feeling, with the same disposition for light and sportive gaiety, the Spaniards were invariably distinguished from the Italians by moral gravity. Hence, they have in all times set a high value on rules of conduct, sentences, and useful proverbs, and have never regarded the principles of genuine rectitude as less important than maxims of worldly wisdom.

But love songs form by far the principal part of the contents of the old Spanish Cancioneros. To read them regularly through, would require a strong passion for compositions of this class, for the monotony of the authors is interminable. To extend and spin out a theme as long as possible, though only to seize a new modification of the old ideas or phrases, was, in their opinion, essential to the truth and sincerity of their poetic effusions of the heart. That loquacity which is an hereditary fault of the Italian Canzone, must also be endured in perusing the amatory flights of the Spanish redondillas, while in them the Italian correctness of expression would be looked for in vain. From the desire perhaps of relieving their monotony, by some sort of variety the authors have indulged in even more witticisms and plays of words than the Italians, but they also sought to infuse a more emphatic spirit into their compositions than the latter.110 The Spanish poems of this class, exhibit, in general, all the poverty of the compositions of the Troubadours, but blend with the simplicity of these bards, the pomp of the Spanish national style in its utmost vigour. This resemblance to the Troubadour songs was not however produced by imitation; it arose out of the spirit of romantic love, which at that period, and for several preceding centuries, gave to the south of Europe the same feelings and taste. Since the age of Petrarch, this spirit had appeared in classical perfection in Italy. But the Spanish amatory poets of the fifteenth century had not reached an equal degree of cultivation; and the whole turn of their ideas required rather a passionate than a tender expression. The sighs of the languishing Italians became cries in Spain. Glowing passion, despair and violent ecstacy, were the soul of the Spanish love songs. The continually recurring picture of the contest between reason and passion is a peculiar characteristic of these songs. The Italian poets did not place so much importance on the triumph of reason. The rigidly moral Spaniard was, however, anxious to be wise even in the midst of his folly. But this obtrusion of wisdom in its improper place, frequently gives an unpoetic harshness to the lyric poetry of Spain, in spite of all the softness of its melody. It would be no unprofitable or useless task to pursue this comparison still further. But the limited extent of this work can afford space for only a few notices and examples.

How successful the Spanish poets of the fifteenth century were in gay and graceful love songs, when guided only by their own feelings, is manifest from some of the compositions of Juan de Mena; but the charm vanishes the instant the poet begins to display his skill and erudition.111 In a love song by Diego Lopez de Haro, reason and the mind enter into a prolix conversation on the value to be attached to affections of the heart; and the thinking faculty admits reason at the expense of poetry.112 In the other songs of the same author, in which the mind obeys only the heart, he is poetic in all the simplicity of passion, though in search of wit he sometimes involves himself in obscure subtilties.113 The fire of passion is excellently painted, even amidst sports of wit,114 in several songs by Alonzo de Cartagena, afterwards archbishop of Burgos; and it seems to rage incessantly in the love songs of Guivara, to one of which he has given the emphatic title of El Infierno de Amores; or, The Hell of Love.115 Sanchez de Badajoz, when, like a despairing lover, he wrote his will in poetry, thought he might avail himself of some passages from the book of Job to express his suffering. He divided this strange kind of will into nine lessons, (leciones). The ideas are very extravagant, but the execution is vigorous, and in many parts not unpoetic.116 It might be presumed that profane applications of the doctrines and language of the bible would have given offence to the Spanish public, or at least alarmed the guardians of catholic orthodoxy. But such was not the case. Rodriguez del Padron chose the Seven Joys of Love as the subject of one of his songs, the title of which calls to mind the Marquis of Santillana’s Joys of the Holy Virgin; he also versified Love’s Ten Commandments, (Los diez Madamientos de Amor.)

The other kinds of lyric poems, for example, the laudatory poems, which are dispersed through the Cancionero general, are not distinguished by any peculiar features; but the poems under miscellaneous titles in this collection deserve particular attention. They exhibit the natural style, amalgamated with a conventional, and thus form the model of a species of national poetry, which has descended to the present age. Certain short lyric poems, usually called songs, (canciones,) in the more strict sense of the term are distinguished by a peculiar character and a decided metrical form. They have always a sententious or an epigramatic turn. The number of lines is generally twelve, which are divided into two parts. The first four lines comprehend the idea on which the song is founded. And this idea is developed or applied in the eight following lines. The Cancionero general contains one hundred and fifty-six of these little songs, some of which are the best poems in the whole book. For this advantage they are probably indebted to their conventional form, which confined the romantic verbosity within narrow bounds. These little songs were to the Spaniards of the fifteenth century, what the epigram had been to the Greeks, and what the madrigal was to the Italians and French. Like the latter, they are generally devoted to some theme of gallantry; and though they do not possess so high a polish, yet the interest excited by the truth with which they paint the character of the age, and their ingenious simplicity, entitles them to be ranked among the sweetest blossoms of the ancient spirit of romance.117

The Villancicos bear an immediate affinity to these little songs. The idea which forms the subject of the Villancico, is sometimes contained in two, but more commonly in three lines. The developement, or application, may be completed in one short stanza, but often extends to several similar stanzas. These stanzas always include seven lines. It was, perhaps, by way of irony that the name Villancico was originally applied to productions of this kind; for the spiritual motets, which are sung during high mass on Christmas eve, are also called Villancicos. At least no satisfactory etymology has yet been found for the name. The Cancionero general contains fifty-four Villancicos, and among them are some which possess inimitable grace and delicacy.118

These remarkable compositions, whose origin appears to be lost in the early periods of the formation of the Spanish language, doubtless gave rise to the poetic gloss (glosa,) a kind of poem scarcely known, even by name, on this side of the Pyrenees, but to which the Spaniards and Portuguese of the fifteenth century were particularly attached, and which subsequently even after the introduction of the Italian forms, continued to be preserved as national poetry in Spain and Portugal.

The poetic glosses may, in some measure, be compared to musical variations. The musician selects as his theme some well known melody, which he paraphrases or modifies into variations; in like manner in Spain and Portugal, well known songs and romances were paraphrased or modified into new productions, but in such a manner that the original composition was, without any alteration in the words, intertwined line after line, at certain intervals into the new one. A poem of this kind was called a gloss. By this operation the connection of the glossed poem was broken, and the comparison of the poetic glosses to musical variations is therefore not in all respects exactly just. But the distinction between them arises out of the different nature of the arts of music and poetry; and it is indeed more surprising that these compositions have not flourished beyond the boundaries of Spain and Portugal, than that they should have been peculiar favourites in those two countries. At first, the old romances were glossed;119 then, as it appears, mottos, or sentiments, (motes,) in the style of gallantry peculiar to the age,120 and, at length, every thing that was capable of being glossed. There is a particular class of jeux d’esprit, in the Cancionero general, namely, versified questions and answers, and versified interpretations of devices (letras,) which, together with corresponding emblems, lords and ladies drew by lot at festivals, tourneys, bull fights, &c. But these questions, answers, and devices, are in general more whimsical than ingenious.