The Influence of Petrarch and an Analysis of Lazarillo de Tormes
The Influence of Petrarch on 15th-Century Spanish Poetry
Petrarch significantly influenced fifteenth-century Spanish poets such as the Marquis of Santillana, Juan de Mena, and later Juan Boscán and Garcilaso de la Vega. Petrarch harmonized the heritage of Provençal lyrical poetry with the classical literature of his Italian contemporaries.
Petrarch’s Poetic Innovations
Petrarch’s poetry incorporated a new method of analyzing the individual’s inner world, focusing on themes of love, female beauty, and nature. His work also introduced important formal aspects to Italian lyric poetry.
The Introduction of the Hendecasyllable
While Castilian writers had introduced the hendecasyllable in the fifteenth century, it was Juan Boscán who gave it momentum in the sixteenth century, encouraging its use alongside Garcilaso de la Vega. Together, they combined the hendecasyllable with lyrical compositions and stanzas common in Italy.
Italian Forms in Spanish Poetry
- Terza Rima: Similar to Castilian poetry, this form was used by Boscán.
- Lira: This strophic form was also used by Fray Luis de León and San Juan de la Cruz.
- Octava Real: Introduced by Juan Boscán in his eighth rhyme scheme.
- Canzone: Used as a strophic song in Petrarchan poetry.
- Sonnet: Cultivated since the previous century by the Marquis of Santillana.
- Sapphic Stanza: Of Italian origin, consisting of three hendecasyllables and a five-syllable line.
Themes and Motifs in Renaissance Poetry
Renaissance lyric poetry drew on themes and motifs from classical antiquity and the Italian poetic model.
Love
The theme of love is addressed from the perspective of courtly love, where the beloved’s beauty is described using metaphors drawn from nature.
Nature
Renaissance love scenes often unfolded in a locus amoenus, drawing on the pastoral tradition where shepherds discuss their experiences and relate their tales of unhappy love.
Mythology
Renaissance verses incorporated figures from Greco-Roman mythology, often depicting love stories between gods, nymphs, heroes, and other mythical beings.
Garcilaso de la Vega: The Courtier Poet
Garcilaso de la Vega embodies the archetype of the noble courtier: a man of both arms and letters, a soldier, and a poet. Having directly experienced Italian Renaissance poetry, he introduced the Petrarchan model to Spain with great success.
Garcilaso’s Poetic Works
His poetic output is relatively small, including poems in octosyllabic verse, forty sonnets, three eclogues, five songs, an epistle, and two elegies. However, these compositions provided a new direction for Spanish lyric poetry.
Themes of Love and Loss
A central theme in Garcilaso’s poetry is the pain of love, often unrequited or resulting from the death of the beloved. To express this pain, he composed poems featuring both real and imagined stories, often protagonized by shepherds or mythological figures who served as mouthpieces for his own emotions.
An Analysis of Lazarillo de Tormes
Date and Authorship
The earliest surviving editions of Lazarillo de Tormes (Burgos, Antwerp, and Alcalá de Henares) date back to 1554. It is likely that the first edition appeared one or two years earlier, and the book itself may have been written around 1540. The authorship of the novel remains uncertain, with potential candidates including Fray Juan de Ortega, Alfonso Valdés, and Cervantes de Salazar.
Sources and Influences
Lazarillo de Tormes has been linked to several literary works, including:
- The Golden Ass
- The fourth book of Amadis de Gaula
- Epistolary novels
- Folk tales
Plot Summary
Lazarillo, a child forced to leave his family, is placed in the service of various masters. His life unfolds in three distinct modules:
1st Module: Childhood
Lazarillo serves a blind beggar, a priest, and a squire. During this period, he learns to survive through cunning and wit.
2nd Module: Adolescence
Lazarillo serves a friar, a seller of indulgences, and a drummer. He encounters new forms of deception and falsehood, further deepening his suffering.
3rd Module: Youth
Lazarillo serves a chaplain, a bailiff, and finally finds stability as a town crier in Toledo. He achieves a measure of professional success and marries, establishing a home.
Character Development
Unlike protagonists in other novels who are fully formed from the outset, Lazarillo’s character evolves through his experiences and the hardships he endures. Notably, Lazarillo’s journey is solitary; women are largely absent from his life, and he navigates a world devoid of love.
Setting and Social Commentary
The novel is set in an urban environment, which provides a backdrop for Lazarillo’s encounters with various forms of corruption and social injustice. The story critiques the exploitation of the poor by a corrupt and ignorant clergy.
Narrative Structure and Style
Lazarillo de Tormes is structured as an epistolary novel, framed as a letter written by the protagonist to an unnamed recipient referred to as”Your Grace” The adult Lazarillo recounts his life story to explain the circumstances that have shaped him. The narrative is a monologue, contrasting with the dialogic style of pastoral novels.
Expressive Resources
The narrator employs humor, often ironically juxtaposing biblical passages with Lazarillo’s experiences. The story also features wordplay, diminutives, and antitheses to create ironic effects.
Irony in Lazarillo de Tormes
Irony is pervasive throughout the novel, operating on multiple levels:
Irony of the Protagonist
Lazarillo often directs irony towards himself and his own misfortunes.
Irony of the Masters
Lazarillo’s masters are often oblivious to their own hypocrisy and shortcomings, creating ironic situations.
Irony of the Author
The author’s irony is directed towards Lazarillo’s adult self and the society that has shaped him.
Themes
Honor
Honor, a central theme in the novel, is depicted as dependent on social perception and reputation. Lazarillo’s journey begins and ends with a matter of honor.
Religion
The novel critiques the hypocrisy and corruption within the Church, particularly among the lower clergy who exploit the poor.