Medieval Spanish Literature: A Comprehensive Guide
Medieval Literature in Spain
1. Historical Context
The Medieval Period in Spain spans from the 5th century with the arrival of the Visigoths until 1492, marked by the conquest and discovery of America.
2. Defining Features
Similarities with Europe:
- Medieval society was organized into nobility, clergy, and peasantry, with a small emerging bourgeoisie.
- Prevalence of religious wars.
- Literature was primarily oral, preserved and developed in monasteries and universities.
Unique to Spain:
- A three-dimensional cultural landscape comprised of Jewish, Arab, and Christian influences.
3. Stages of Medieval Literature in Spain
3.1. Literature of the Nobility
3.1.1. Epic Poetry
Epic poems narrate the stories of warriors and heroes. The most outstanding work is the Cantar de Mio Cid. Unlike European epics, which often feature fantastical elements, the Cantar de Mio Cid focuses on a real historical figure, Rodrigo Diaz de Vivar (El Cid), who lived in the 11th century. However, minstrels later embellished the poem with fantastical elements.
Structure of the Cantar de Mio Cid:
- Banishment
- Weddings
- Offering of Corpes
Themes:
- Loss and recovery of honor
Authorship:
- Anonymous, transmitted orally by troubadours.
- In the 12th century, a monk named Per Abbat from the monastery of San Pedro de Cardeña compiled and structured the poem as we know it today.
3.1.2. Ballads (Romances)
Ballads are anonymous narrative poems transmitted by minstrels. They are characterized by octosyllabic verses and assonance rhyme, originating from epic poems. There are two types of ballads:
- Historical Ballads: Based on real events or characters from epic poems (e.g., the Cantar de Mio Cid).
- Fictional Ballads (Novelescos): Feature entirely imaginary characters and events.
4. Mester de Clerecía (Clerical Literature)
Narrative poems written in verse by clerics during the 13th and 14th centuries.
4.1. Characteristics
- Use of the cuaderna vía (fourteen-syllable Alexandrine verses with consonant rhyme).
- Didactic purpose, aiming to disseminate Christian values and customs.
4.2. Featured Authors
4.2.1. Gonzalo de Berceo (13th Century)
The first known author of Spanish literature. A monk from the monastery of San Millán de la Cogolla, known for his work “Miracles of Our Lady.”
4.2.2. Juan Ruiz, Archpriest of Hita (14th Century)
Author of “The Book of Good Love.”
Features:
- First-person narrative, recounting the protagonist’s life and amorous adventures in a burlesque style.
- Interrupted by other literary compositions.
- Features the character of Trotaconventos (a bawd).
- Critiques aspects of life and distinguishes between two types of love: “loco amor” (crazy, sexual love) and “buen amor” (good love, the love of God).
5. Didactic Prose
In the 12th century, the first Castilian translations of short stories from oriental literature with a didactic purpose appeared. These works typically feature a historical character or anecdote followed by a moral lesson or teaching.
5.1. Alfonso X “The Wise” (13th Century)
King of Castile who promoted the spread of the Castilian language. He founded the Toledo School of Translators, where scholars translated works of knowledge from various languages into Castilian (e.g., Kalila and Dimna). Alfonso X was also fluent in other Iberian languages, such as Galician, in which he wrote his personal work “Cantigas de Santa Maria.”
5.2. Don Juan Manuel (14th Century)
Nephew of Alfonso X and author of “El Conde Lucanor,” a didactic work reflecting the importance of teaching in literature. The work is structured around a young prince who seeks guidance from his mentor on various life situations. The mentor responds with stories that conclude with a moral lesson (moraleja).
6. Medieval Lyric Poetry
During the Middle Ages, lyric poetry in the Iberian Peninsula developed in two main forms:
6.1. Popular Lyric
Anonymous poems transmitted orally, emerging from the 11th century.
Features:
- Short compositions
- Focus on the theme of love
Examples:
- Jarchas (Mozarabic lyric poems from the 12th century)
- Cantigas de amigo (Galician lyric poems from the 12th-14th centuries)
- Villancicos (Castilian lyric poems)
6.2. Cultured Lyric
Poetry written by known authors, often in courtly settings.
Features:
- Longer compositions
- Focus on courtly love
Examples:
- Troubadour poetry (12th century)
- Cancionero poetry (13th-14th centuries), reflecting courtly love themes (e.g., Cancionero de Baena)
6.2.1. Notable Authors
- Marquis of Santillana: A Castilian nobleman and poet.
- Juan de Mena: A court poet known for his allegorical works.
- Jorge Manrique: Author of “Coplas a la muerte de su padre” (“Verses on the Death of His Father”), a poignant elegy written in the form of a coplas (a type of Spanish verse form).
7. Medieval Theater
Medieval theater in Spain, as in Europe, emerged with a didactic and religious purpose. Churches staged religious performances to explain elements of the Catholic faith.
Notable Works:
- Mystery Plays: The most famous is the “Mystery of Elche,” which depicts the Assumption of the Virgin Mary. It dates back to the 13th century and is written in Catalan.
- “Auto de los Reyes Magos” (“Play of the Magi”): A short liturgical drama from the 12th century.
From the 14th century onwards, theater transitioned from the church to secular settings, portraying the life and problems of society.
Representative Work:
- “La Celestina” (originally titled “Comedia de Calisto y Melibea”): A work of dramatic dialogue, initially intended for reading rather than performance. It was first published in 1499 and later expanded in 1502 as “Tragicomedia de Calisto y Melibea.” The work gained fame through its titular character, Celestina, a cunning and manipulative procuress. Due to its critical portrayal of society and its exploration of themes outside religious ethics, it was initially published anonymously. Later research attributed the authorship to Fernando de Rojas.
Structure of La Celestina:
- Introduction: Calisto and Melibea’s first encounter (Act 1).
- Rising Action: Acts 2-14 (development of the intrigue and deception).
- Climax and Falling Action: Acts 15-21 (deaths of the protagonists).
Characters:
- Nobles: Calisto and Melibea
- Servants: Sempronio and Pármeno
- Marginal Figures: Celestina, Elicia, Areúsa
- Minor Characters: Pleberio (Melibea’s father), Tristán and Sosia (Calisto’s servants)
Themes of La Celestina:
- Pessimistic view of the world
- Humans as slaves to their passions
- Calisto: Victim of his capricious love
- Melibea: Victim of societal pressures
- Celestina: Victim of her own greed
- Sempronio and Pármeno: Victims of greed and lust