Medieval Spanish Literature: “Cid”, “Love”, and More
“El Mio Cid”: An Epic of Exile and Honor
The poem “El Mio Cid”, composed before 1499, is attributed to multiple authors, including Stephen of Gozman (responsible for the Cid’s banishment, weddings, and the affront at Corpes) and Medina (who reformed the original poem, adding the remaining parts and simplifying the rhymes).
The poem consists of three parts:
- Song of Exile
- Wedding of Metric
- Affront at Corpes
It features irregular meter (6, 7, or 8 syllables per line), assonance, and unequal rhymes.
Artistic Values
- Realism: Emphasizes detailed descriptions of settings.
- Central Theme: Driven by a central narrative.
- Authorial Mastery: Skillful character development with subtle humor.
- Patriotism: Evokes a sense of national pride.
Language
- Clarity and Simplicity: Direct speech of characters.
- Humor: Engages the audience with interrogative and exclamatory phrases.
- Oral Tradition: Reflects its origins in oral storytelling.
“Libro de Buen Amor”: Love and Medieval Themes
The “Libro de Buen Amor” (Book of Good Love) by the Archpriest of Hita brings together diverse themes and cultural trends of the Spanish Middle Ages.
Theme
Love is the central theme.
Argument
The poem presents a sequence of fictitious love affairs featuring the poet himself.
Structure
- Allegorical episodes
- Paraphrases of tales and fables
- Didactic, moral, and lyrical compositions
- Mock-religious elements
Metric
The poem uses cuaderna vía (AAAA rhyme scheme) and Alexandrine verses.
Medieval Prose: The Era of Alfonso X
Medieval prose emerged in the mid-13th century, largely thanks to Alfonso X, known as Alfonso the Wise.
Prose Characteristics
- Culture-focused
- Fixed spelling system
- Syntactic flexibility
- Enriched lexicon
Works
Alfonso X’s works include books on chess and poetry, including the “Cantigas de Amigo”.
Medieval Theater: From Religious Roots
Medieval theater was closely linked to religious celebrations. “The Order of the Magi” is an early example, though dramatically simple, dominated by monologue rather than dialogue.
Parameters
Drama was interrupted for two centuries, with subsequent representations having both religious and secular elements.
“Coplas de Manrique”: Reflections on Life and Death
“Coplas de Manrique” is a moral-didactic poem in which the author describes and praises a prominent figure.
Metrics
The poem uses the copla manriqueña, a 12-line stanza grouped into two sextets with octosyllabic lines and tetrasyllabic lines (3rd and 6th) with assonant rhyme (abcabc/defdef).
Structure
- Doctrinal: General reflections on the transience of life.
- Praise: Eulogy of the deceased and their encounter with death.
Topics
- Fortune
- Death (Ubi sunt)
- Fame
Style
The poem avoids artificial and fashionable conceits, using clear language with minimal cultisms or unnecessary adjectives.
“La Celestina”: A Novel in Dialogue
“La Celestina”, published in installments, consists of 21 acts of varying length and was written by Fernando de Rojas. Act 1 is believed to be the work of an anonymous author due to notable differences from the remaining 20 acts.
Genre
It is considered a novel in dialogue or a comedia humorística.
Action
The drama is structured with a foreword, an opening scene, and two parts (acts 1-14 and 15-21).
Characters
- Callisto
- Melibea
- Celestina
- Sempronius (false to his master)
- Pármeno (complex, initially good)
- Elicia and Areúsa
- Alisa and Pleberio (Melibea’s parents)
- Centurio (humorous character)
- Tristán and Sosia (Callisto’s servants)
- Lucrecia (Melibea’s maid)
Language
The language ranges from formal to conversational.
Themes
- Love
- Lust
- Fortune
- Magic (Melibea’s infatuation)
- Time
- Death
Time and Space
The work manages multiplicity and simultaneity of space, with both explicit and implicit time frames.
Forms of Expression
The work employs dialogue, monologue, asides, and stage directions.