The Book of Good Love: A 14th-Century Masterpiece
Mester of the Clergy
The Book of Good Love, by Juan Ruiz, Archpriest of Hita, represents a significant work of the 14th-century clergy. It showcases important shifts in the literary landscape. The work breaks from the traditional uniformity of verse structure, incorporating diverse poetic forms and religious content. This gives way to a strong sense of realism, evident in both the cheerful satire of Juan Ruiz and the social criticism of López de Ayala.
The Intent of Juan Ruiz
Little is known about the actual existence of Juan Ruiz. Given the nature of his work, it’s plausible that the author concealed his identity, and that the Archpriest is merely the fictional protagonist of the book. The primary challenge in interpreting The Book of Good Love lies in its ambiguity. In the introduction, the author declares a moral intention, stating that worldly love is folly and true love is found only in God. This suggests a didactic purpose, reinforced by the numerous love affairs that end unsatisfactorily for the protagonist. The book is also interspersed with moral digressions, ballads to the Virgin Mary, and sententious pronouncements, making it difficult to doubt the author’s sincerity.
However, the question remains: is this moral intention genuine, or is it a pretext for including humorous, often erotic, stories? The doubt persists. After stanzas dedicated to Mary, the first tale is the story of the Greeks and Romans, a dialogue of the deaf where two individuals believe they understand each other through gestures, but in reality, do not. This story could be interpreted as an alert to the reader about the book’s ambiguity.
Consequently, The Book of Good Love can be understood not as a didactic treatise, but as an invitation to enjoy the pleasures of love. It appears that Juan Ruiz uses the literary forms of the clergy to construct a parody aimed at entertaining his audience.
The Rise of the Bourgeoisie
Juan Ruiz possibly represents the tastes of a new social group: the bourgeoisie. He is interested in reality as it is, human behavior, and earthly pleasures. This bourgeois ideology opens the door to an anti-heroic literature, disrespectful of the values of knights and medieval clerics. The Book of Good Love is filled with proverbs and colloquialisms, reflecting this shift in perspective.
Structure and Style
The work’s originality and variety are striking. The storyline, often difficult to follow, is a fictional love autobiography interspersed with other material, which the Archpriest transforms and parodies to his liking.
Key Components:
- Amorous Adventures: After initial failures, the Archpriest receives advice from two confidantes who encourage him to choose a woman and seek the help of an intermediary (a precursor to Celestina). Romantic encounters continue, culminating in an affair with Doña Garoz, which ends with her death and the Archpriest feigning grief.
- Pamphilus Influence: An imitation of the 12th-century comedy Pamphilus, featuring Don Melón de la Huerta and Doña Endrina. Juan Ruiz adds realism and introduces the character of Trotaconventos, the go-between.
- Allegorical Battle: A parody of epic battles, featuring Don Carnal (representing indulgence) and Doña Cuaresma (Lent). This symbolizes the Church’s struggle to impose restraint, which only succeeds during Lent.
- Fables and Stories: Many of oriental origin, these are among the most amusing and roguish texts.
- Lyrical Compositions: Poems of praise to the Virgin and love poems.
- Moral Reflections: Protests against the disasters caused by love and complaints against death.
Juan Ruiz’s style is characterized by the use of popular language: proverbs, idioms, nicknames, puns, double meanings, and jokes. The realism and expressiveness of his dialogues are among his greatest merits.