The Study of Spanish and Portuguese Literature. Friedrich Bouterwek

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СКАЧАТЬ in this history in treating of the old romances of the same class; for most of them, particularly those of the historical kind, differ little from the more ancient. But a considerable portion of compositions of every class have been contributed to the Romancero by poets of the sixteenth century. The collectors have mingled these romances and the older ones together, without any attention to critical arrangement or chronological order; and in no instance is there any mention or indication of an author. In a history of literature, it therefore becomes necessary to speak of the Romancero as a whole; and for this purpose, the present is perhaps the most convenient opportunity; for, even at the period when this collection was produced, the poets who wrote romances in the old national style, merely improved that style without essentially altering it.

      Among the historical romances, contained in the Romancero, those in which anecdotes of the Moorish war, or the heroic and gallant adventures of Moorish knights, are poetically treated, seem, for the most part, to belong to the latter half of the fifteenth century. All these romances relate to the civil wars of Granada, the last Moorish principality in Spain. The civil dissensions of Castile retarded for upwards of half a century the conquest of Granada, which was at length effected in the year 1492, by the united power of Isabella of Castile and Ferdinand of Arragon. During this last period of the conflict between the Christians and the Mahometans of Spain, the former became more intimately acquainted with the history of the latter. As the last blow for the deliverance of the Peninsula was now about to be struck, all that related to the Moors was doubly interesting to the Castilians. The two rival factions, the Zegris and the Abencerrages, whose mutual enmity accelerated the fall of Granada, were, in a particular manner, the objects of their adversaries attention.

      About this period it seems to have become a fashion among the Spanish romance writers, to select from the events of Moorish history, materials for their songs; and in these romances the heroes of the Zegri and Abencerrage tribes sustain the principal characters. Even after the conquest of Granada, the interest excited throughout Spain by that great national event, still continued; and, doubtless, many romances, the subjects of which are borrowed from Moorish history, were produced in the sixteenth century.121

      The first Spanish pastoral romances, were probably produced during the last ten years of the fifteenth century. But no distinct traces exist of the rise of this species of poetry in Spain. In the poetry of the age of John II. neither pastoral names nor ideas appear, except in the satyrical poem, entitled, Mingo Rebulgo, which will be hereafter noticed. Pastoral dramas are, however, to be found in the works of Juan de la Enzina, who flourished towards the close of the fifteenth century, and of whom we shall also have occasion to speak more at large. The Spanish pastoral poetry seems, shortly after its rise, to have been blended with the romantic poetry. Many of the most beautiful narrative pieces in the Romancero general are properly pastoral romances. It is quite impossible to ascertain correctly to what age these bucolicks belong;122 and it has, hitherto, proved equally impossible to obtain any positive information respecting the origin of the facetious and satyrical romances and songs, dispersed through the Romancero general.123

      Finally, the history of the Romancero general itself still waits for bibliographic illustration; and in order to throw any light on this subject, it would be necessary to have the opportunity of examining the Spanish libraries and old collections of manuscripts, and to be able to bestow on them the most indefatigable attention. Of all the collections, bearing the common title of Romancero general, only two are quoted by authors; one was edited by Miguel de Madrigal, in the year 1604; and the other by Pedro de Flores in 1614.124 Another publication, however, under the same title, which also appeared in 1604, and which contains upwards of a thousand romances and songs, professes to be a new and augmented collection of this kind.125 At what time, then, was the first collection made or published?

      Those, however, who may think it unimportant to enquire how many of these anonymous poems, which have for ages delighted the Spanish public, were produced in the fifteenth or sixteenth century, and who may merely wish to see a selection of the best Spanish poems in the old national style, have only to turn to the Romancero general. Many of the narrative romances which it contains, vie, in romantic simplicity, with those of apparently older date in other collections, and exceed them in elegance; and still more do a number of the songs in the Romancero surpass those in the Cancionero general. Thus the historian of literature has additional cause to lament that through the absence of all chronological and bibliographical notices, he is deprived of even the slight satisfaction of paying a just tribute to the memory of the authors of the best of these romances and songs, which really deserve to be immortal. The poets themselves, it is true, do not seem to have attached much value to fame. If their songs, accompanied by the guitar, interested the hearts and charmed the ears of their auditors, they sought no laurels in addition to that true reward of the poet. Yet, for this very reason, in an age when the lowest degree of poetic merit presumptuously claims literary distinction, the task would be the more pleasing to do honour to those venerable authors, by raising the veil beneath which their names have too long been concealed.

FIRST TRACES OF THE ORIGIN OF SPANISH DRAMATIC POETRY IN THE MINGO REBULGO—JUAN DEL ENZINA—CALLISTUS AND MELIBŒA, A DRAMATIC TALE.

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      All that now remains to be stated respecting the poetic literature of the Spaniards during the fifteenth century, must be comprehended in a notice of their first essays in dramatic poetry.

      In lieu of those poetic works which are styled dramatic in the true sense of the word, and which afterwards formed the most brilliant portion of Spanish poetry, the Spaniards of the fifteenth century possessed merely spiritual or temporal farces, written in the style which prevailed in the middle ages, and which can scarcely be said to belong to literature. At Saragossa, the residence of the Court of Arragon, attempts towards the improvement of dramatic amusements were earlier made than in the Castilian court. There, as has already been observed, the Marquis de Villena devoted his learning and inventive talents to the drama. Allegorical dramas, indeed, do not seem to have been in favour at the court of Castile, notwithstanding the taste for allegory which distinguished the poets of the reign of John II. A singular union of pastoral and satirical poetry first gave birth to a species of dramatic poem in the Castilian language.

      In the reign of John II. an anonymous poet amused himself by describing the court of that monarch in satirical coplas. It is impossible to account for the whim which induced him to throw his rhymes into the form of a dialogue, and to select shepherds for his interlocutors. The work extends to thirty-two coplas, and critics have sometimes classed it among the eclogues, and sometimes among the first satirical productions of the Spanish poets. Some make Rodrigo de Cota the author of these coplas; and others, who ascribe them to Juan de Mena, seem to forget that the latter was zealously devoted to the court party. This singular composition is usually mentioned under the title of Mingo Rebulgo, from the names of the two shepherds who carry on the dialogue. Supposing pastoral poetry to have been in vogue at that period in Spain, and particularly at the court of John II. it would be easy to explain how a witty author might conceive the bold idea of converting a pastoral dialogue into a satire; but in that case the ideas of a poetic pastoral existence must have been diffused through Spain, as they were through Italy. It is probable, however, that in both countries the revived study of classical literature, and particularly of Virgil’s eclogues, gave rise to the practice of clothing modern ideas in a garb imitated from the ancient bucolic poetry; and it seems the effect of mere accident that a Spaniard should have been the first to devote a work of this kind to the purposes of satire.126

      Doubtless neither the eclogue of Mingo Rebulgo, nor the colloquial stanzas in the Cancionero can properly be regarded as the commencement of dramatic poetry in Spain. But all these preliminary essays in dialogue, are in a literary point of view connected together; and about the close of the fifteenth century, pastoral dialogues were converted into real dramas, by a musical composer, named Juan de la Enzina, or del Enzina, as he is styled СКАЧАТЬ