History of Spanish and Portuguese Literature (Vol. 1&2). Friedrich Bouterwek

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СКАЧАТЬ only in Latin, and others only in Italian. Alphonso de Ulloa, who was an assiduous historical and political author, wrote chiefly in Italian.306 He was, it is true, born in Italy; but he was of a Spanish family, and the Spanish language was perfectly familiar to him. The want of confidence thus shewn by Spanish writers in the force and precision of their own language seems inexplicable, when it is recollected at how early a period Spanish prose began to be cultivated. Their intercourse with the Italians had, however, made the Spaniards perceive a want of elegance both in their colloquial phraseology and literary style; but that grace which their poets soon began to imitate from the Italians, is but feebly indicated in the works of the early Spanish prose writers, whatever other rhetorical merits they might possess, and a frank simplicity of expression appears still to have constituted the main character of Spanish prose. Besides, the Italian prose, which with the exception of the writings of Machiavell and Guicciardini is distinguished by a playful and too often superficial elegance, could not be very congenial to the Spanish taste, which required a grave and energetic style. To imitate the ancient classics was the only means whereby the prose literature of Spain could have been cultivated in a manner answerable to the demands of enlightened men in the sixteenth century. Unfortunately the ecclesiastical and political despotism of this period left no free scope for the exercise of the mental powers of those Spaniards who were desirous of constructing a national prose style on the ancient models. Neither the didactic nor the historical styles could be freely developed; and for the formation of the oratorical style, circumstances were, if possible, still more unfavourable. Impeded by such obstacles, and permitted only to copy in the strictest sense the rhetorical forms of the ancients, without their energy and solidity of thought, and their force of expression, the Spanish prose writers certainly could not be expected to produce works worthy to be ranked on a level with the classic examples they would have wished to emulate; but their efforts to open the career of genuine eloquence to their national literature, deserves, notwithstanding, to be honourably recorded.

      1. Didactic Prose is, in the Spanish language, indebted for its first formation to Fernan Perez de Oliva of Cordova. At the commencement of the sixteenth century this learned man travelled through Italy and France, and during three years which he spent in Paris delivered public lectures on philosophy and ancient literature. On his return to Spain he settled at Salamanca, where he became professor (cathedratico) of theology, and delivered lectures on the Aristotelian philosophy. He died in 1533, before he had completed his thirty-sixth year.307 His philosophic and theological studies, and his intimacy with Grecian and Roman literature, did not withhold him from the cultivation of his native language; and he even endeavoured, by his translations which have already been mentioned,308 to naturalize the Greek tragedy in Spain. He also wrote several poems, which in honour of his memory, are still preserved. But Perez de Oliva was no poet; and to judge from his translations he appears to have had scarcely any true poetic feeling, though he possessed a correct and delicate taste for the rhetorical beauty of prose. His most celebrated work is his Dialogue on the Dignity of Man (Dialogo de la Dignidad del Hombre) in the manner of Cicero.309 It would be vain to seek in this didactic dialogue for ideas which present the merit of novelty in the present age; and it can by no means be regarded as a model of dialogue style any more than the similar works of Cicero. But it was the first specimen in Spanish literature, of clear and connected discussion, maintained in correct dignified and elegant language. The colloquial form serves to connect, though somewhat loosely, the two portions into which the work is divided. Two philosophic friends meet, and their conversation turns on solitude: they endeavour to explain the causes which induce man to seek retirement, and which render him dissatisfied with the society of his fellow creatures. One of the friends inveighs against human society, while the other extols its advantages. In the mean while they are joined by a third philosopher who becomes the arbiter. Before this judge each disputant propounds his opinions in an uninterrupted discourse. Thus the oratorical style is now mingled with the didactic, which had before superseded the colloquial style. This blending of the didactic and oratorical styles, must doubtless be a subject of critical censure to many readers; but with the exception of the oratorical passages, the dialogue of Perez de Oliva is written, in a natural and easy manner.310 The ideas are for the most part clearly and accurately developed,311 and the oratorical language, particularly where it is appropriately introduced, is powerful and picturesque.312

      Perez de Oliva had a successful pupil in his nephew Ambrosio de Morales, who was also a native of Cordova. This learned writer was born in the year 1513; after having finished his academic studies at the university of Alcala de Henares, he delivered public lectures on philosophy and ancient literature, by which he soon acquired an honourable reputation. Charles V. appointed him classical tutor to his natural son Don John of Austria, who afterwards became so celebrated. On the death of Charles V. Ambrosio de Morales was installed by King Philip II. in the vacant post of historiographer or chronicler (coronista) of Castile. From the period when he entered upon this office he appears to have devoted himself exclusively to historical studies. He died at an advanced age. His didactic works consist of treatises (discursos) on various subjects of practical philosophy and literature. In one of these treatises, he expressly and urgently recommends the rhetorical cultivation of the Spanish language, which the writers of that age so unjustly disowned and neglected to the great prejudice of literature and even of philosophy.313 The other dissertations of this meritorious writer, which are not so much known, relate to the importance of rhetorical studies; the distinction between Plato’s and Aristotle’s methods of instruction; the duty of man to exert himself to the utmost when he wishes for the assistance of the Almighty; the difference between a great and a good understanding; the value of wealth, independent of personal merit in the possessor; and such like objects of general utility. He only occasionally casts a side glance on the region of speculative philosophy, so that among Germans he might with propriety be called the Spanish Garve. Like that author his views were clear rather than profound; and like him also his object was to write pure didactic prose. His style, though not energetic nor impressive, is natural, clear, and precise, and not unfrequently adorned with pleasing images.314 The pedantic allusions to the scriptures and to classical literature must be attributed to the age and country to which Morales belonged.315

      Pedro de Valles, another native of Cordova, followed the example of Perez de Oliva, in cultivating prose; but he inclined to the pomp and antitheses of Seneca, which he was perhaps induced to imitate from respect for his countryman; for the learned of Cordova have always prided themselves in being natives of a city which had produced an ancient author of so much celebrity. Morales, in his collection of his own and his uncle’s works, has inserted a treatise by Valles on the Fear of Death.316

      Francisco Cervantes de Salazar, who lived about the same period, likewise followed the tract which had been marked out by Perez de Oliva. Respecting the life of this writer but few particulars are known; and the resemblance of his name to that of the celebrated Cervantes Saavedra, does not appear to be a sufficient reason for concluding that he was related to that distinguished author. Cervantes de Salazar wrote a continuation of Oliva’s Dialogue on the Dignity of Man; for he regarded it as unfinished, because Oliva allows the friend and the enemy of human nature to deliver their opinions, while the third party, who is appointed the philosophic arbiter, draws no inference from the arguments he hears. Through the medium of this third character, Salazar circumstantially recapitulates the whole theme, and arrives at a decided conclusion. Salazar is a more contemplative writer than Oliva, who, in other respects appears to have been his model. He translated from the Greek the Tabla of Cebes, and from the Latin the Introductio ad sapientiam of Luis Vives, one of the learned Spaniards who did not choose to write in their native tongue. He published his continuations and translations along with the original works.317

      Among the various works which Cervantes de Salazar published and elucidated, is an allegorical romance, entitled “Labricio, or the fable (Apologo) of Idleness and Industry.” This romance may be placed if not among, at least beside didactic works, for the allegorical form serves merely to clothe the ideas, which are very methodically developed. The author, Luis Mexia, or Messia, was a learned theologian and jurist. His object was to draw an interesting and animated picture of the dangers of idleness, the pleasures of occupation, and the value of well directed industry. Notwithstanding the faults inseparable from the class of СКАЧАТЬ