Medieval Spanish Literature
Medieval Prose
First Half of the 12th Century
First manifestations of the prose romance appeared under the reign of Fernando III. These consisted of translations of earlier texts written in Latin. Works include Kalila and Dimna and Book of Deception.
Alfonsi Prose (Second Half of the 12th Century)
Alfonso X the Wise is considered the true creator of Castilian prose. He enriched the language, giving flexibility to its syntactic structures, creating new conjugations, and incorporating new words from Latin. While not the creative source of his works, he was a driving and inspiring force. He compiled historical treatises (General History of the World), legal matters (The Seven Parts), and scientific works (Alfonsine Tables).
14th Century: Birth of Literary Prose
Don Juan Manuel (1282-1348)
His moral-didactic work teaches good manners, demonstrates a practical attitude towards life, and shows how to navigate it cleverly and cautiously. He draws on other works but in a personal way. His style is careful, simple, clear, and accurate. He is the author of Count Lucanor: a collection of 50 stories in which the Count tells his servant Patronio about problems, and Patronio replies with stories and morals.
Chancellor Ayala
Imprisoned in a cage by the Portuguese, Ayala cultivated the historical genre with a human spirit. His most important prose work is Crónica de Pedro I, which examines the facts critically. In verse, Rimada criticizes the palace.
Medieval Theater
Its origins are not related to classical antiquity. Born in the Middle Ages and linked to religious celebrations, it arose from the dramatization of worship ceremonies within the church. Later, it gained relevance, and performances were held in the town square.
Second Half of the 12th Century: The Order of the Magi by Pereyra
Dramatically poor, with monologue dominating over dialogue, this work had both religious and secular elements.
Pre-Renaissance
After The Order of the Magi, theatrical production was interrupted until the mid-15th century. There are indications of dramatic representations of both religious and secular character. Mennecke suggests these latter games consisted of burlesque pantomime mockery, sometimes parodying religious ceremonies.
This period represents a transition from the Middle Ages to the Renaissance. This societal crisis is reflected in the following:
- The nobility held significant power.
- Peasants lived in poverty, leading to many anti-seigneurial revolts.
- Strained relations existed between Christians, Jews, and Muslims.
- A political crisis brought a climate of anarchy, reflected in the literature, particularly during the reigns of John II and Henry IV.
This chaos and moral corruption encouraged sociopolitical satire. The Catholic Monarchs eventually subdued the nobility and established an authoritarian monarchy.
Culture
The rediscovery of classical antiquity through Italian humanists like Dante, Petrarch, and Boccaccio was crucial.
Humanism
The study of Latin and ancient Greek philosophy (Plato) shifted the focus from theocentrism to anthropocentrism.
- Thomas More remained true to his religious beliefs.
- Erasmus of Rotterdam (a priest) wrote The Praise of Folly, in which a fool criticizes society and the church. Because the protagonist was a fool, the work was not censored.
Juan Mena
He wrote The Labyrinth of Fortune, offering a vision of the future that fluctuates between pagan and Christian interpretations. Three large wheels represent political life, past historical figures, and future achievements (war).
Marqués de Santillana
A prototype of a gentleman and writer, he participated in political contests, siding with the nobility. He cultivated two types of poetry: Provençal-style love poetry (songs, sayings, and serranillas) and moral-didactic verse. He introduced the sonnet to Spanish literature with Forty Italian-Style Sonnets (influenced by Petrarch). His prose includes proverbs (the first collections in Spanish literature) and a letter to the Constable. His verse shows Dante’s allegorical influence, as seen in Hell of Lovers.
Jorge Manrique
Son of Rodrigo Manrique and Doña Mencía de Figueroa, his family actively participated in the noble struggles of his time. Under John II, the Manriques opposed Álvaro de Luna. Influenced by the refinement of 15th-century courtly life and his uncle, a poet and playwright, Manrique was involved in artistic circles. He was skilled in arms and literature. He died during the assault on Carcimuños Castle, held by rebels of the Marquis of Villena.
Coplas by the Death of His Father
- Manrique’s meter: 12 poems grouped in two six-line stanzas with broken meter. Octosyllabic verses, with verses 4 and 6 being tetrasyllabic. Rhyme scheme: ABC ABC DEF DEF.
- Structure: Three parts: Fortune, Time, and Death. Examples of historical figures. Praise of the deceased and his encounter with death.
- Theme: Views the world as a transit, with earthly matters leading to salvation, honor, and eternal life. Style: Almost Renaissance-like, purifying the language of cultisms.