Mystical Poetry of Saint John of the Cross and Garcilaso de la Vega
Saint John of the Cross
The importance of Saint John of the Cross derives from three of his poems: Spiritual Canticle, Living Flame of Love, and Dark Night of the Soul. The theme of the three is the same: the mystical union with God, symbolized by the love of a man and a woman. They have two levels: literal and symbolic. The poems describe the mystical process with phases of search and suffering at times, and others that come on suddenly. The religious sense is so subtle that without John’s comments in prose, they could be understood as human love poetry.
- Spiritual Canticle is an adaptation of the Song of Songs.
- Living Flame of Love is a short poem that describes mystical ecstasy.
- Dark Night of the Soul describes how the soul (the beloved) flees its home to meet its lover (God).
Style
He uses the lira (reminiscent of Garcilaso), which produces a strange effect. Paradoxes are common, and sound figures are frequent in the desire to express the ineffable.
Garcilaso de la Vega
Garcilaso de la Vega is the prototype of the Renaissance gentleman, always concerned about the quality of his poetry despite his short life. In his compositions, Garcilaso sings of the love of a woman named Elisa (Elisabeth Freyre, a Portuguese lady). Garcilaso’s poetic work, first published in 1543, includes two eclogues, two elegies, an epistle, five songs, and 38 sonnets. Almost all the poems are full of love, in a Petrarchan tone. The lover devotes his life and work to a woman who is never appropriate.
Sonnets and Songs
Petrarch’s influence dominates, although in the first, echoes of 15th-century cancionero poetry are present.
Eclogues
In an idyllic landscape (locus amoenus), several pastors lament their suffering in love:
- Eclogue I: Pastor Salicio laments Galatea’s rejection while Nemoroso mourns the death of his beloved. Both may represent Garcilaso himself.
- Eclogue II: Albanio, desperate for Camilla’s contempt, tries to commit suicide. There is praise for the House of Alba.
- Eclogue III: On the banks of the Tagus River, four nymphs weave love scenes; the fourth is the ill-fated love between Nemoroso and Elisa (Garcilaso and Isabel).
Garcilaso’s Style
The vocabulary is simple, and his poems are graceful. He skillfully uses adjectives and metaphors. In his descriptions of feminine beauty and the locus amoenus, there are epithets, similes, hyperbatons, repetitions, and symmetries. He has a great ability to express his feelings without upsetting the balance of the whole.