It was believed that Spanish literature began with the anonymous epic poem, the Poema del Cid, written around 1140AD. However, in 1948, Hebrew scholar Samuel M. Stern published 24 jarchas, "short lyric poems written in very archaic Spanish," which he had found in a synagogue in Cairo. Stern and Spanish scholar Emilio Garcia Gomez found more jarchas since 1948 and their sum total was over fifty. The jarcha is usually the lament of a lower-class woman for her absent sweetheart. It is the final three- or four-lined strophe of the muwassaha, a form of verse used by Arabic and Hebrew poets from the eleventh to the thirteenth century. The jarcha is written in Mozarabic, the dialect of the Christians who lived in Moslem Spain and by bilingual Arabs. Because the Arabic and Hebrew characters lacked certain vowel signs, scholars have trouble in transliterating the jarchas. The lack of knowledge of the Mozarabic language also hinders interpretations.
The Poem del Cid was written about a real man--his battles, conquests, and daily life. The poet, name unknown, wrote the epic in about 1140 and Cid supposedly died forty years before in 1099. This epic represents realism, because nothing was exaggerated and the details are very real, even the geography correctly portrays the areas in which Cid traveled and lived. Unlike other European epics, the poem is not idealized and there is no presence of supernatural beings. It has assonance instead of rhyme and its lines vary in length, the most common length being fourteen syllables. This type of verse is known as mester de juglaria (verse form of the minstrels). The epic is divided into three parts, also known as cantos.
- Part I is about Ruy Diaz de Vivar, who is called Cid (meaning my Lord) by the Moors. His current task is to collect the tributes from the Moorish territory owed to his king, Alfonso VI of Leon. Cid's enemy accuses him of taking some of these tributes and the king exiles him from Leon and Castilla. Before he leaves, he places his wife, Doña Jimena, and his two daughters, Doña Elvira and Doña Sol, in the Monastery of Cardeña. The canto then accounts of raids in the Moorish territory in which Cid and his men get rich off of the spoils.
- Part II begins with Cid's capture of the city of Valencia. He brings his family to live with him. It is discovered that the Infantes (princes) de Carrión, the nephews to the king, are the enemies who caused Cid's exile. They plot to marry his daughters to take some of his wealth. The king acts on behalf of his nephews and pardons Cid and allows the marriages. Cid suspects that something bad will happen from the marriages.
- Part III shows that the Infantes are cowards in battles with the Moors. They are made fun of and decided to get revenge by attacking their wives. They set out for Carrión with their wives and an escort, Felix Muñoz, the cousin of the daughters. Once on the journey, they send the escort ahead of them, steal their wives' great dowries (including two beautiful swords) and beat them and leave them for dead. Muñoz suspects trouble and returns to his cousins and takes them to receive help. Cid seeks to right the wrongs done to his daughters and a trial is held. A duel is held between some of Cid's men and the Infantes in which the Infantes loose. In the middle of the trial, a message was sent from the kings of Navarra and Aragon, proposing to marry their sons to Cid's daughters. These marriages take place after the defeat of the Infantes.
Medieval Spanish poets recognized this form as one written by the minstrels (juglares) and composed of varying line length and use of assonance instead of rhyme. These poems were sung to uneducated audiences, nobles and peasants alike.
This Castilian narrative poetry became popular in the thirteenth century. It is the verse form of the learned poets, usually clerics (hence the name 'clerecía'). These poets carefully counted the number of syllables in each line and strived to achieve perfect lines. The line form is the Alexandrine line (14 syllables) with consonantal rhyme in stanzas of four lines each. This form is also known as the cuaderna vía or the fourfold way, and was borrowed from France and was popular until the late fourteenth century. Popular themes of these poets were: Christian legends, lives of saints, and tales from classical antiquity. The poems were cited to villagers in public plazas. Two traits separate this form from the mester de juglaría: didacticism and erudition. Castilian priest and poet Gonzalo de Berceo was one of the greatest followers of the mester de clerecía. All of his works were religious and two of the most well-known are Milagros de Nuestra Señora (about the miracles worked by the Virgin Mary) and Vida de Santa Oria. Fourteenth century poet Juan Ruíz, also known as the Arcipreste de Hita, used the cuadernia vía in parts of his famous work Libro de buen amor. He introduced sixteen syllable lines.
Spanish Prose
Spanish prose gained popularity in the mid-thirteenth century when King Alfonso X el Sabio of Castilla gave support and recognition to the writing form. He, with the help of his groups of intellectuals, directed the composition of many prose works including Las siete partidas, the first modern book of laws of the land written in the people's language. Another work was La primera crónica general which accounted for the history of Spain from the creation until the end of Alfonso's father's reign, San Fernando. It is the first national history ever written. For his direction of these works and many others he directed, Alfonso X is called the father of Spanish prose. His nephew, Don Juan Manuel is famous for his prose work El Conde Lucanor which is a frame story or short stories within an overall story. In this work, the Conde Lucanor seeks advice from his wise counselor, Patronio, who gives the advice through the telling of stories. Juan Manuel also wrote lesser-known works such as El libro de los estados on the social classes and El libro del caballero y escudero on philosophical discussions. Toward the end of the Middle Ages, writer Fernando del Pulgar (1436-1490?) created a new type of prose named the verbal portrait. This form is demonstrated by Pulgar's work Claros varones de Castilla in which he represents the detailed lives of twenty-four distinguished contemporaries. He explores their moral and psychological natures as well as physical traits. Pulgar was the official historian of the monarchs Fernando and Isabel, the famous Catholic Monarchs of Spain. This position gave him close encounters with the characters in this book, making the work realistic and detailed.
Lyric Poetry of the Middle Ages
Lyric poetry in the Middle Ages can be divided into three groups: the jarchas, the popular poems originating from folk-songs sung by commoners, and the courtly poetry of the nobles. Alfonso X el Sabio fits into the third group with his series of three hundred poems, written in Galician: Las cantigas de Santa María. Another poet, Juan Ruíz, or the Arcipreste de Hita is an outstanding lyricist of the fourteenth century. His only work, Libro de buen amor is a framework tale in which he includes translations from Ovid, satires, little poems called serranillas, twenty-nine fables, a sermon on Christian armor, and many lyric poems that praise the Virgin Mary. Poet Íñigo López de Mendoza, the Marqués de Santillana (1398-1458) begins to show the movement away from the traditions of the Middle Ages. He shows a knowledge of Latin authors and familiarity with the works of Dante and Petrarch. Mendoza was also the first to introduce the sonnet into Spanish literature. The last great poet of the Middle Ages is Jorge Manrique. He is famous for his work which laments the death of his father, Coplas que hizo por la muerte de su padre. In this piece, Manrique shows classical feelings by expressing himself in a universal manner (all things come to an end). He is still considered a poet of the Middle Ages in that he finds peace and finality in religion.
- Siglo de oro
- Picaresque novel
- Alonso de Ercilla
- Miguel de Cervantes
- The classical Spanish theater
- The Eighteenth Century
- Generation of '98
- Generation of '27
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