Medieval Narrative: Didacticism in 14th-Century Literature
The Shift in Literary Transmission
The 14th century witnessed significant changes in how literary works were disseminated, transitioning from oral traditions (songs and minstrel recitations) to individual, silent reading. Two prominent works, the Book of Good Love by Juan Ruiz (Archpriest of Hita) and Count Lucanor by Don Juan Manuel, exemplify this shift.
The Book of Good Love
This unique work, with no clear European parallel, formally inherits the mester de clerecía style with its use of a frame narrative. However, it deviates significantly from this tradition in many aspects.
Count Lucanor and the Rise of Castilian Prose
Count Lucanor marks the emergence of literary prose in Castilian. While translations of story collections like Kalila and Dimna (1251) existed, original prose fiction in Castilian was rare. Prose signaled a shift towards individual reading, though it was often read aloud for entertainment.
Shared Didacticism and Authorial Presence
Both works share a didactic intention, common for the time, aiming to impart practical and moral lessons through entertaining narratives. This didactic approach is evident in the exemplary tales of Count Lucanor and the diverse materials of the Book of Good Love. Notably, both authors insert themselves into their works. Juan Ruiz adopts a pseudo-autobiographical approach, while Don Juan Manuel presents himself as the Count seeking counsel, reflecting his own perspective.
Contrasting Backgrounds and Literary Models
Despite their shared didacticism, the authors’ backgrounds differ. Juan Ruiz, a clergyman, represents the traditional link between social class and cultural transmission. Don Juan Manuel, a nobleman, reflects the evolving cultural interests of his class during the late Middle Ages. Juan Ruiz’s model, rooted in the mester de clerecía, appears as a culmination of existing formulas. Don Juan Manuel’s framed collection of stories, akin to Boccaccio’s Decameron or Chaucer’s Canterbury Tales, offered a model with a lasting literary impact.
Don Juan Manuel: Life and Legacy
Noble Lineage and Political Influence
Born in 1282, Don Juan Manuel, grandson of Ferdinand III and nephew of Alfonso X the Wise, held significant power and prestige. He actively participated in the political landscape of his time, occasionally opposing the reigning monarchs.
Champion of Castilian Prose
A man of considerable cultural influence, Don Juan Manuel furthered the development of Castilian prose, continuing the work of his uncle, Alfonso X. This contributed to the prominence of Castilian as the official language, overshadowing Latin as the vehicle of classical culture. However, unlike Alfonso X, Don Juan Manuel primarily addressed his own noble class.
Authorial Awareness and Preservation of Works
Don Juan Manuel demonstrated a strong awareness of his role as a writer, departing from the prevailing norms. He didn’t rely on classical citations to enhance his prestige but prioritized the accurate transmission of his work, depositing a copy in the Dominican monastery he founded in Peñafiel.
Social and Religious Influences
Closely associated with the Dominican order, Don Juan Manuel drew inspiration from their story collections used in religious preaching. He shared their belief in the divine origin of social structure and the importance of fulfilling one’s assigned role within their social status. His writings, reflecting the social changes of his time, can be interpreted through a political lens.
Count Lucanor: A Didactic Masterpiece
Structure and Themes
Written in 1335, Count Lucanor is a didactic work comprising three distinct parts: 51 exemplary stories, 180 aphorisms (proverbs), and a treatise on salvation. The work addresses earthly concerns (honor, social status, wealth) and spiritual matters, emphasizing the need to reconcile both.
Narrative Structure and Didactic Approach
The first part, most valued today, employs a consistent structure: the Count presents a problem to Patronio, who responds with a story illustrating a similar situation. Don Juan Manuel then comments on the story’s relevance and adds a moral in verse. This structure reinforces the didactic message through repetition and varied forms.
Authorial Mastery and Adaptation of Sources
Don Juan Manuel skillfully adapted stories from known sources, modifying their construction, emphasizing relevant details, enhancing intrigue, and humanizing characters to create more complex narratives.
Juan Ruiz, Archpriest of Hita, and the Book of Good Love
The Enigmatic Author
Little is known about Juan Ruiz, the author of the Book of Good Love, beyond what can be gleaned from the work itself. While he identifies himself as Juan Ruiz from Alcalá, the autobiographical elements are likely fictional, drawing from known sources and predating the true autobiographical genre.
Cultural Influences and Intended Audience
Juan Ruiz’s work displays familiarity with other cultures present in the Iberian Peninsula, including Arabic phrases and Jewish customs. The work, dating to the first half of the 14th century, appears designed for public recitation rather than private reading.
Genre and Structure
The Book of Good Love‘s unique structure has led to various interpretations. Some scholars suggest inspiration from Eastern genres, while others link it to other medieval works.
Didactic Intention and Ambiguity
The work’s stated intention is didactic, though its meaning can be ambiguous for modern readers. Juan Ruiz acknowledges this ambiguity, comparing his work to a musical instrument whose sound depends on the interpreter’s skill. The theme of “good love,” contrasted with “mad love,” introduces further ambiguity, potentially referring to the divine versus human love or honest versus dishonest love.
Narrative and Themes
The Book of Good Love takes the form of a pseudo-autobiography, presenting a learning process through the protagonist’s experiences. Initial failures in seduction lead to an allegorical dispute with Love, offering advice on choosing the right woman, avoiding laziness, and being generous. The story of Doña Endrina and Don Melón exemplifies these lessons, though its interpretation remains open to debate. The protagonist’s mountain adventures parody the pastourelle genre, presenting negative examples of “mad love.” Ballads to the Virgin exemplify “good love,” while the Battle of Don Carnal and Doña Cuaresma satirizes the clergy. The episode with Doña Garoza, a nun, explores the complexities of love and desire. The work concludes with further reflections on its meaning and more ballads to the Virgin.