Читать книгу History of Spanish and Portuguese Literature (Vol. 1&2) - Friedrich Bouterwek - Страница 34

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Juan Boscan Almogavèr, who, in concert with his friend Garcilaso de la Vega, introduced the Italian style into Castilian poetry, was born in Barcelona, towards the close of the fifteenth century. He belonged to one of the Patrician families of that city, of equal rank with the nobility of the country. Though possessing a liberal education, and sufficient fortune to enable him to gratify his inclination for literary studies, without regard to any secondary views, he embarked, notwithstanding, on his first outset in life for a short period in the profession of arms. He afterwards travelled, but the countries he visited are not mentioned in the brief notices which remain of him. If, however, it be supposed that he went at this time to Italy, and rendered himself intimately acquainted with the literature of that country, it appears that he was still far from entertaining the idea of transplanting the forms and manner of Italian poetry into Spain; for the Castilian verses, which he wrote in his youth, were all in the ancient lyric style, which, since the time of Juan de Mena no one had thought it necessary to try to improve. It was not until 1526, when, after having flourished at the court of Charles V. he had made a happy marriage, and was settled in his native city, that a Venetian induced him to imitate the Italian poetry in the Castilian language. The emperor resided for some time in Granada; and, among the foreign ministers who repaired to his court, was Andrea Navagero, the envoy from Venice, a man of great literary and historical knowledge, and, like every well-educated Italian of that age, a writer of canzoni and sonnets. Boscan, having formed an intimate friendship with this minister, was taught by him to view the Italian poetry and also the classical latin in quite a new light. The Spanish lyric poetry, which with all its gothic excrescences was still pleasing to the nation, if not so barbarous in his eyes as in those of his Italian friend, appeared to him, when compared with a sonnet of Petrarch, at least, in the point of good taste greatly inferior. He now readily perceived the nature and felt the value of the precision and correctness of the great works of antiquity. Animated by his new ideas, he fearlessly ventured to follow the counsel of Navagero, in spite of the menacing clamour of the friends of the old national forms. He took upon himself the character of a reformer of the lyric poetry of his nation, and commenced his labours by writing sonnets in the manner of Petrarch.

The metrical structure of the sonnet had long been known in Spain;148 but the genius of Castilian poetry was adverse to that form, and the Spaniards had manifested very little predilection for any thing like the elegant correctness of Petrarch. Boscan had therefore elevated himself above the literature of his country, when he perceived that it was necessary to infuse a new spirit into Castilian poetry before it could be reconciled to the Italian forms. His friend Garcilaso de la Vega participated in this opinion. But thousands of voices were raised against the reformers. Some insisted that preference was to be given to the old Castilian verse on the ground of euphony. Others went further, and asserted that the ear could perceive no distinction between the new verse and prose. Finally, a third party discovered that Italian poetry was effeminate, and was fit only for Italians and women. Boscan relates that this violent opposition made him reflect seriously on the propriety of proceeding with his design; but as he was soon convinced of the futility of the reasons urged against him, he persisted in his undertaking. His party rapidly increased and soon obtained the superiority, not indeed throughout the whole mass of the public, but in that portion of society which was most enlightened and refined.149

The other circumstances of Boscan’s life, in so far as they are known, have little interest for the literary historian. The mature part of his age was chiefly spent in his native city Barcelona, or in the neighbouring country. The urbanity of his manners and his talents recommended him to the family of Alba, which was then one of the most brilliant of the noble houses of Castile, and to which the homage of the Spanish poets was from that time constantly paid. Boscan was for some time Ayo, or first governor of the young Don Fernando de Alba, who was afterwards the terror of the enemies of the Spanish monarchy. He appears, however, to have soon resigned this employment, in order to divide his time between study and the society of literary friends. The year in which he died is not exactly known; it is only ascertained that his death happened before the year 1544.150 He prepared for the press a collection of his poems, to which he added those of his friend Garcilaso; but the work was not published until after his death.151

From the point at which Boscan found Castilian poetry, to that in which it was necessary it should be placed before he could open for himself a new path, the distance was considerable, and the transition was to be accomplished by a single bound. That he succeeded in this undertaking was owing not so much to his genius, as to a natural susceptibility for the real beauties of Italian and ancient poetry, accidentally excited at the favourable moment, and to a talent for the imitation of classical models, without altogether discarding that tone of feeling which was properly his own. To estimate, however, the full value of Boscan’s talent, it is not only necessary to examine the works by which he introduced a new style into Spanish poetry, but to take a retrospective view of the productions of the Castilian muse in the ancient manner. It is only by this comparison that a just conception can be formed of the surprise with which the Spaniards must have regarded the bold attempt of Boscan. He was the first among his countrymen who had an idea of classical perfection in works of imagination; and though the greater part of his poems fall below that standard, they all afford evidence of his endeavours to reach it. An aspiration so entirely unaffected and unembarrassed, had never been manifested by any previous Spanish poet. Between the kind of poetry which he introduced into his native land and that which he abandoned, there was no visible passage. But lest the merits of Boscan should be too highly rated, it is proper to observe, that at this time a reform of the Spanish poetry, precisely such as that to which his efforts gave birth, was, notwithstanding the clamour of his opponents, desired by the more cultivated part of the Spanish public, though, perhaps, there no where existed any distinct perception of the wished-for object. Had it been otherwise, Boscan must have stood alone, and the numerous poets of his nation, who have equalled or surpassed him in the new style, never would have followed his example.

The early productions of Boscan, which form the first book of his works, are scarcely distinguishable by any trace of superior delicacy or correctness from the poems of the same descriptions contained in the Cancionero general. The very title of the longest of these youthful essays, namely, Mar de Amor (the Sea of Love) excites an anticipation of the fantastic flights of the old Spanish muse; and it is impossible to read the first strophe without being convinced that the author still adhered to the original character of Castilian song.152 It was, however, only at the request of his friend Garcilaso de la Vega, who said that he received from these poems the same sort of pleasure as from pretty children, that Boscan renounced his intention of entirely suppressing them.

The second book of Boscan’s poems, contains sonetos and canciones, in the style of the Italian sonetti and canzoni. They all betray, in a greater or less degree, the disciple of the school of Petrarch; but the spirit of Spanish poetry still displays itself throughout the whole. The language, though it successfully imitates the precision of Petrarch, seldom attains the sweetly flowing melody of its model. In painting the feelings, the shadows are charged with stronger colours than the Italian Petrarchists of the sixteenth century permitted themselves to employ. Impetuous passion, which, with higher pretensions, was, on account of its very violence, less capable of commanding sympathy than a mild enthusiasm, strikingly distinguished Boscan’s poetry from that which was the object of his imitation. The contrast was farther increased by the constantly recurring picture of a struggle between passion and reason. But these were precisely the traits which disclosed the true Spanish character. It was not individual feeling that prevented Boscan from equalling the delicacy and softness of the Italian sonetto and canzone, for as his biography, and still more his other poems, shew he was a man of a very mild disposition. But it was necessary that the language of love, to appear natural and true to a Spaniard, should burn and rage. At the same time, to satisfy Spanish taste, reason was to be introduced to deliver her precepts amidst the storm of passion, to prove its force by her feebleness, and to give to lyric composition a moral gravity which was not desired by the Italians. In so far however as the Spanish character permitted the experiment to go, the fascinating tone of Petrarch was very happily seized by Boscan;153 and in the expression of tender passion he has even sometimes surpassed the Italian poet.154

The greater part of the third book of these poems is occupied by a paraphrastic translation of the Greek poem of Hero and Leander. Nothing of the kind had been previously known in the Spanish language. The metrical form which Boscan chose for his translation, was that of rhymeless iambics, or an imitation of the blank verse of the Italians. The language is so pure and elegant, the versification so natural, and the tone of the narrative so soft, and at the same time so elevated, that it is impossible not to be pleased even with the prolixity which the influence of the taste for romantic poetry has introduced into this free translation. To this translation succeeds a poem in the Italian style, entitled a Capitulo, and some epistles in tercets. The Capitulo, as it is called, is a love elegy, abounding in pleasing ideas and images, but on the whole too much spun out, like most Italian poems of the same kind. It has also its full share of genuine Spanish hyperbole and amorous despair.155 The best of his epistles is, “The Answer to Diego Mendoza,” who was himself the first epistolary poet among the Spaniards, and whom it will soon be necessary to notice more at length. After the new poetical career was opened, these authors vied in imitating the epistles of Horace; but it is plain that the elegiac tenderness of Tibullus was constantly present to the mind of Boscan. In his Answer to Mendoza, the descriptions of domestic and rural life charm by their exquisite delicacy, and possess a still more powerful interest than the moral reflections, though these are unaffected and noble, and conceived in the true spirit of didactic poetry.156

Boscan’s works conclude with a narrative poem in the Italian style, which has no other title than that which denotes the structure of the verse, namely, octava rima. Some ideas and images are borrowed from the Italian poets; but the whole invention and the execution of the greater part of the details belong to Boscan. The merit of the fable, however, is not great. A mythological allegory, describing the empire of love, forms the introduction to a poetical relation of a festal meeting of Venus, Cupid, and the other inhabitants of that imaginary region. Little Cupids are dispatched all over the world by Venus to defend her against the reproaches of unreasonable men, and to make known the real blessings of love. One of those winged envoys directs his course towards Barcelona, the natal city of the poet, gives a particular account of his mission to the fair ladies of that town, and takes the opportunity of saying many gallant things to them. As to the construction of the fable of this poem, Boscan certainly gave himself very little trouble. His object appears merely to have been to compose a romantic picture of greater extent than a sonnet or a cancion, and to make his countrymen sensible of the charm of descriptive poetry in the Italian manner. It is impossible not to admire the grace and facility with which Boscan has accomplished this purpose. The descriptions are so animated,157 and all the details so elegant and engaging, that the tediousness of some of the parts is amply compensated by the happy execution of the whole. Light plays of fancy embellish the lyric and romantic passages; and, upon the whole, this is a work which no other of the same kind by later Spanish poets has excelled.158

If a comprehensive view be taken of the merits of Boscan, it will be impossible, notwithstanding the striking faults which appear in his works, and particularly in his sonnets, to withhold from him the title of the first classical poet of Spain. Some of his expressions are now antiquated, but upon the whole his language has continued a model for succeeding ages. Simplicity and dignity had never, in the same degree, and under a form so correct, been united with poetic truth and feeling by any previous Spanish author. The partizans of the old national poetry reproached him with being an imitator; but without the kind of imitation by which he naturalized in his language a taste for the literature of Italy and the ancient classics, it would have been impossible for Spanish poetry to have gained that field in which it afterwards competed with the Italian. That he did not obtrude upon his countrymen a kind of poetry irreconcilable with the genius of the language and the national character, is evident from the rapidity with which the new taste spread over the whole of Spain, and extended into Portugal, and from its duration in both kingdoms. The poetic innovators, at whose head Boscan stood, were certainly blameable, in so far as they wished to banish entirely the ancient Spanish style, which was also, in its own manner, susceptible of classical improvement. But it is doubtful whether the partizans of that style would have thought of perfecting it after classical models, had not the disciples of the Italian school unexpectedly shewn the high cultivation of which Spanish poetry was capable under new forms. This Boscan first made manifest, not by critical reasoning, but by example; and his modesty contributed not a little to attract to his party the more liberal minded of his countrymen. Had he commenced his reform by trying to beat down the old style with theoretical argument, or egotistical declamation, he would only have rendered himself an object of ridicule; for the public he had to deal with was not indisposed to improvement, but would not submit to have lessons read to it magisterially.

After Boscan, his friends, who participated in the fame of that reform to which he shewed the way, are justly entitled to the next place in the history of Spanish poetry.