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Juan de Mena, who is by some writers, styled the Spanish Ennius, ranks, as a poet, in a somewhat higher scale than the Marquis of Santillana, though he was less favoured by fortune, and was not distinguished by so many various merits as the latter. He was born in Cordova, about the year 1412. In this southern district of Spain, which but a short time before had been recovered from the Moors, the Castilian genius was doubtless very rapidly naturalized. Juan de Mena, though not descended from a family of rank,87 was not of mean origin, and at the early age of three-and-twenty he was invested with a civil appointment in his native city. His own inclination, however, prompted him to devote himself to philosophy, and particularly to the study of ancient literature and history. From Cordova he went to the University of Salamanca. But in order more nearly to approach the source of ancient literature, he undertook a journey to Rome, where he zealously prosecuted his studies. Enriched with knowledge, he returned to his native country, and immediately attracted the notice of the Marquis of Santillana, and shortly after of king John. Both received him into their literary circles with distinguished approbation. The Marquis of Santillana attached himself with more friendship to Juan de Mena than to any other poet who enjoyed the favour of the king, although their political opinions did not always coincide. The king nominated him one of the historiographers, who, according to the arrangement which had subsisted since the time of Alphonso X. were appointed to continue the national chronicles. Juan de Mena lived in high favour at the court of John II. and was a constant adherent of the king. He died in 1456, at Guadalaxara, in New Castile, being then about forty-five years of age. The Marquis of Santillana erected a monument to his memory.

From the history of Juan de Mena’s life, it might be expected that his endeavours to extend the boundaries of Castilian poetry would be made under the influence of Italian taste, more or less of which he may be presumed to have adopted, and on his return introduced into his native country. But no Italian poet, save Dante, appears to have produced any remarkable impression on him. Indeed, with the exception of Dante and Petrarch, there was, at that period, no Italian poet of classic consideration; and in the first half of the fifteenth century Italian poetry suddenly declined. Sonnets were still in favour throughout the whole of Italy, but Juan de Mena continued faithful to the old forms of the Castilian poetry, perhaps from a feeling of national pride. He certainly did not imitate the sonnet; and even from Dante himself, he copied neither metrical form nor style. In allegory alone he followed the footsteps of the Italian poet. His most celebrated poem is, the Labyrinth, (el Labyrintho) or, the Three Hundred Stanzas (las trecientas,) an allegorical historical didactic work, in old dactylic verse (versos de arte mayor.88) Had the Labyrinth proved what, according to the idea of the author, it was intended to be, it would have been proper, merely on account of that single work, to commence a new epoch of Spanish poetry with the reign of John II. But with all its merits, which have been highly extolled by some authors, and which are certainly by no means trivial, it can only be regarded as a mere specimen of gothic art.89 It belongs to the period which gave it birth, and bears no traces of the superiority of a genius which might have ruled the spirit of the age. Juan de Mena formed the grand design of executing in this work an allegorical picture of the whole course of human life. His intention was, to embrace every age, to immortalize great virtues, to stigmatize with opprobrium great vices, and to represent in striking colours the irresistible power of destiny.90 But the poetical invention of Juan de Mena was subordinate to his false learning. The three hundred stanzas, of which the poem consists, are divided into seven orders, (ordenes), in imitation of the seven planets, the influence of which, according to Juan de Mena’s doctrine, is wisely prescribed by Providence. To represent this influence figuratively, Mena resorted to a most insipid and grotesque invention. After invoking Apollo and Calliope, and earnestly apostrophising Fortune,91 he loses himself in imitation of Dante in an allegorical world, where a female of astonishing beauty appears to him, and becomes his guide. This female is Providence:92 she conducts him to three wheels, two of which are motionless, while the third is in a state of continual movement. These wheels, it will readily be conjectured, represent the past, the present, and the future. Human beings drop down through this mill of time. The centre wheel turns them round. Each has his name and destiny inscribed on his forehead. While the wheel of the present is revolving with all the existing human race, it is controlled astrologically in its motion by the seven orders or circles of the seven planets under the influence of which men are born. Whether or not these circles are perceptible on the wheel itself, is not clearly stated. To this description succeeds, in the order of the seven planets, a long gallery of mythological and historical pictures, which presents abundant fruits of the poet’s extensive reading. This grotesque composition is interspersed with individual passages of great interest and beauty, though none of the traits call to mind similar traits in Dante. The most glowing passages of the lyric, didactic, and narrative class, are those in which Juan de Mena gives utterance to the language of Spanish patriotism.93 He is particularly successful in the description of the death of the Count de Niebla, a Spanish naval hero, who attempted to recover Gibraltar from the Moors; but through ignorance of the return of the tide, fell a sacrifice to the waves, because he preferred perishing with his men, to saving himself singly.94 But particular attention is bestowed on Don Alvaro de Luna,95 the favourite of the king, who is introduced in this poem with great pomp, under the constellation of Saturn. When Juan de Mena wrote this poem, and thus proclaimed the glory of de Luna, the latter had not yet fallen, and the energy of his character seemed to promise, as the poet prophesied, that he would ultimately triumph over all the Castilian nobles who had excited the hostility of the country against him. King John, as may naturally be supposed, is in Juan de Mena’s Labyrinth complimented on every suitable occasion. A genealogy of the kings of Spain forms the conclusion of the poem; and thus were the Spaniards made to feel a kind of national interest for the whole work, which in some measure subsists, at least among their writers at the present day. Even in Juan de Mena’s time, the learned solecisms with which he endeavoured to elevate his poetic language were uncommon;96 but other essential faults, such, for instance, as Aristotelian definitions in verse, were then esteemed great beauties; and the gothic and fantastic hyperboles in praise of king John, with which the poem opens, as if intended to appal the reader at the outset, were not at that period considered unpoetic.97

But king John was not satisfied with the torrent of praise which was poured upon him by Mena’s Labyrinth. The king, with critical gravity, signified his wish that the poet should add sixty-five stanzas to the three hundred which he had already written, so that by making the number of stanzas correspond with the number of days in the year, the beauty of the composition might be heightened. The sixty-five new stanzas were also to have a political tendency, with the view of recalling the rebellious nobles to their allegiance. Juan de Mena proceeded to the prescribed task; but he could produce no more than twenty-four additional stanzas (coplas añadidas.) They are contained in the Cancionero general.

Another work of Juan de Mena, very celebrated at the period when the poet flourished, is his Ode for the Poetical Coronation of the Marquis of Santillana.98 That Mecænas sometimes vied with him in the composition of ingenious questions, or enigmas and their answers, which were versified by both in dactylic stanzas.99 His other poems are, for the most part, love songs, in the style of the age, and according to the perverted taste of the poet, loaded with mythological learning. In the course of this work further notice will be taken of these songs, together with other amatory poems of the same period. During the last year of his life, Juan de Mena was engaged in a moral allegorical poem, which, however, he did not complete. It was entitled a Treatise on Vices and Virtues, (Tractado de Vicios y Virtudes.) The author intended in an epic poem to represent the “more than civil war,” which the will, instigated by the passions, maintains with reason.100 The will and reason are in the end personified.

To collect biographical notices of the other poets and writers of verse who enjoyed the favour of king John II. and whose works are partly contained in the Cancionero general, or to give an extensive account of their productions, is a task which must be resigned to the author who has made this department of Spanish literature his particular study. As to poetic value, the writings of all those authors are in the main the same; and it may therefore be presumed that it will prove more instructive to consider works so nearly related to each other, under the comprehensive view of general criticism. A few notices, however, of men worthy of more particular remembrance, may precede the critical comparison of their works.101