RISE OF A NEW IRREGULAR AND FANTASTICAL STYLE IN SPANISH POETRY.
It is impossible to draw a rigid line of separation between the disciples of the classic school, and the partizans of lyric irregularity, who indulged in no less freedom than Lope de Vega, while at the same time they endeavoured to exceed him in forced conceits. Even the disciples of the classic school are not totally exempt from extravagant ideas and unnatural metaphors; and they occasionally pour forth a torrent of words, which though sometimes big with brilliant ideas, more frequently wastes itself in mere froth and foam. It cannot be doubted that the Italian school of the Marinists exercised an influence on these Spanish poets. But Marino, being a Neapolitan by birth, was a Spanish subject, and educated among Spaniards. It is therefore more natural to regard his style as originally Spanish, than to trace to Italy the source of those aberrations of fancy, which, in the age of Cervantes and Lope de Vega, again found admirers in Spain. Marino’s was the old Spanish national style, with all its faults, divested of its ancient energy and purity, polished after a new fashion, stripped of its simplicity, tortured into the most absurd affectation of refinement, and that affectation displayed in a boundless prolixity.
One of the most zealous adherents of this party was Manuel Faria y Sousa, a Portuguese by birth. Some cause of discontent had induced him to quit his native country and to fix his residence in Spain; and in composing both poetry and prose, he in general preferred the Castilian to his vernacular tongue.[438] It can scarcely be supposed that he introduced this perverted taste from Portugal; though his Portuguese poems exhibit no less affectation of style than those which he composed in Castilian, and in which a judicious direction of the fancy is seldom observable. His ideas are, for the most part, intolerably fantastic. One of his Castilian songs, for example, is composed in honour of his mistress’s eyes, “in whose beauty, (he says) love has inscribed the poet’s fate, and which are as large as his pain, and as black as his destiny, &c.”[439] He displays similar extravagance in most of his Castilian sonnets: in one, for instance, he relates “how ten lucid arrows of chrystal, were darted at him from the eyes of his Albania, which produced a rubious effect on his pain, though the cause was chrystaline,” &c.[440] In this absurd style he composed hundreds of sonnets. Faria y Sousa, however, wrote several good works on history and statistics;[441] and it must be recollected that in his poetry he merely followed the party which he most admired, and which indeed had its precursors in Portugal as well as in Spain.
This party which soon became powerful, imitated the negligence of Lope de Vega. But Lope de Vega was not a pedant; and when he failed in producing real beauties, he did not coin false ones. His pretended imitators, however, used the alloy of pedantry most unsparingly, and thereby carried the affectation of ingenious thoughts, in the style of the Italian Marinists, to an incredible height.