Though Spanish literature was in the manner just recorded, enriched during half a century by numerous lyric and pastoral compositions, which deserve to be handed down with honour to posterity, yet within the same interval epic poetry made but little advancement in Spain.
Early in this period the absurd name of idyls (idyllios) appears to have been applied to such narrative poems as were not romances, and to have marked out a particular field for a kind of poetic tales, which were in some measure imitations from the ancients, and yet were executed in the romantic style. Such, for example, was Boscan’s free translation of the story of Hero and Leander from Musæus, which the Spaniards call their first idyl. Thus the term idyls in Spanish, conveys no idea of pastoral poems, which are always called eclogues (eglogas.)[258] Castillejo, of whom further mention will shortly be made, imitated in old Castilian verse, stories from Ovid, and gave to them the name of idyls. The spurious heroic style which the authors of these tales introduced, proved, without doubt, one of the obstacles to the cultivation of chivalrous epic poetry in Spain; but it is also to be recollected, that the luxuriant mixture of the comic with the serious, which is the very soul of the romantic epopee of the Italians, was by no means congenial to Spanish taste. In Spain the works of Boyardo and Ariosto were known only through the medium of bad translations, and were read merely with the interest attached to all books of chivalry. Finally, the spirit of the old romance poetry was also hostile to the chivalric epopee. To descend from the cordial gravity of the national narrative romances, to the careless levity with which the venerable heroes of chivalry were treated by the Italian writers, was a transition repugnant to the patriotic feelings of the Spaniards; who, in their wars with the Italians, were the more disposed to be proud of the preservation of their national spirit of chivalry, when they found that it facilitated their victories over men who were better fitted for intrigue than for defending their freedom sword in hand. Thus, to the chivalrous epopee of the Italians, the Spaniards remained as completely strangers, as if they had been excluded from all opportunity of becoming acquainted with that kind of composition; and yet the period when the Spaniards and Italians maintained the closest political and literary relations, precisely corresponds with that of Ariosto’s first celebrity, and of the numerous imitations of the Orlando Furioso, which appeared in the Italian language.[259]
On the contrary, several Spanish poets, during the first half of the sixteenth century, zealously competed for the palm in the serious epopee; but obstacles again arose, which all the force of Spanish genius was not sufficient to surmount. Torquato Tasso had not yet shewn what the serious epic was capable of becoming, and what it must be, in order to be reconciled to the taste of modern times. The Spaniards were so little prepared for the new poetry with which they had suddenly been made acquainted on the first imitation of the Italian style, that they could not be expected to enter without a guide into the true spirit of the modern epopee. The men, who at this time boldly attempted to become the Homers of their country, appear to have felt that they could not select from ancient history the materials for an epic poem. But on the other hand, their patriotic feelings prepossessed them too much in favour of events of recent occurrence. The age in which they themselves lived was, in their eyes, the most illustrious and the most worthy of epic glory; a Spanish Homer could record no achievements save those of the Spaniards under Charles V.; and the hero, who in their poems eclipsed all others, was their favourite Charles, the never conquered, (el nunca vencido,) as he was styled by all the Spanish writers of the sixteenth century. Thus arose the Caroliads, or heroic poems, in praise of Charles V. all of which speedily sunk into oblivion. Among them were the Carlos Famoso, by Luis de Zapata; the Carlos Victorioso, by Geronymo de Urrea; La Carolea, by the Valencian poet, Geronymo Sampèr, &c. Alonzo Lopez, surnamed Pinciano, who flourished at the commencement of the sixteenth century, was more happy in his choice of an epic subject. The hero of his story is Pelayo, the brave descendant of the visigothic kings, who, in his turn, was the first to subdue the Arabs. But Pinciano’s poem, which he entitled El Pelayo, had no better fate than the Caroliads.[260]
The present seems a fit opportunity for mentioning La fuente de Alcover, a narrative poem, which though of humbler pretensions than the Caroliads, experienced considerable success. The author, Felipe Mey, who was of Flemish extraction, was a bookseller in Valencia. Encouraged by his patron, Antonio Agustin, bishop of Tarragona, he chose a few stanzas, written by that ingenious prelate, as the ground work of a mythological poem. The idea originated in the name given to a plant (capillus veneris), through which the water trickling drop by drop, at length forms a little fountain. This pretty poem makes, along with some others by Felipe Mey, an appendix to his unfinished translation of Ovid’s Metamorphoses in octave verse. It deserves also to be mentioned, that this translation reads like a modern poem; both language and versification are excellent.[261]
Some other translations of the ancient classic poets which appeared, during this period, remain to be noticed. Gonzalo Perez, a native of Arragon, is the author of a poetic translation of Homer’s Odyssey, in the Castilian language. The first edition was printed in 1552, and the second in 1562; so that it seems the Spanish public felt an interest in this extension of their poetic literature. Gregorio Fernandez translated the Æneid and several of Virgil’s eclogues in verse; and in the like manner Juan de Guzman executed a complete version of the georgics. All these translations, however, like those of Luis de Leon, must be regarded as re-casts of ancient materials into modern moulds, rather than translations, in the strict sense of the term. But, in an age and country, in which both the people and the language were imbued with the spirit of the romantic poetry, to have attempted to introduce the classic poets of Greece or Rome in any other way than in a romantic dress, would have been to do violence to the genius of the language and the nation.[262]
PROGRESS OF THE ROMANTIC POETRY—CASTILLEJO: HIS CONTEST WITH THE PARTIZANS OF THE ITALIAN STYLE.
The rapid success of the imitators of the Italian and classic styles, did not, however, deprive the old romance poetry of its rank, either in literature or in public estimation. The first half of the sixteenth century, was doubtless the period when most of the old romances, then first brought together in collections, received the form which they have retained down to the present day; and, in all probability, not less than half the romances and canciones collected in the Romanceros generales, particularly the mythological, anacreontic, and comic kinds, had no existence previous to that period.
But no poet of that age defended the cause of the old Castilian poetry, in all its various forms, with so much talent and zeal as Christoval de Castillejo, the most illustrious of the literary opponents of the Italian style. Castillejo obtained the post of secretary in the service of the Emperor Ferdinand I. an appointment which was a consequence of the relations still subsisting between the courts of Madrid and Vienna, after the death of Charles V. notwithstanding that the German empire was then separated from the Spanish monarchy. The greater part of Castillejo’s poems were written in Vienna; and are full of allusions to the gay sphere of life in which he moved at the imperial court. A young German lady, named Schomburg, of whom he seems to have been an ardent admirer, figures in his poems, under the name of Xomburg, because nothing like the hissing sound of the German sch, could be expressed by the same characters in the Castilian language. Advanced in life, and tired of gallantry and the gay world, he returned to Spain, became a Cistercian monk, and died in a convent in 1596. The admirers of Castillejo[263] assign to him the first rank among Spanish poets; but the unprejudiced critic cannot, in justice, elevate him to so high a station. His poetic horizon was very limited. He was determined to be nothing but an old Castilian in poetic taste, as in every thing else. He ridiculed Boscan, Garcilaso, and all the Spanish poets of the new party, with more wit than judgment.[264] He asserted, though without foundation, that the old Castilian metres and forms of rhyme were alone suited to the Castilian language; and for want of better arguments to urge against the amatory poetry of Italy, he asserted that all poetry of love was to be regarded as mere raillery, without reflecting, that in supporting this opinion he cast more reproach on the old Spaniards than on the Italians.[265] The structure of Italian verse appeared constrained to a poet, who confounded rapidity with facility of style. The loose rhythm of the redondillas, was with him an exclusive beauty of the syllabic structure of his mother tongue, for he had no taste for a more regular style of poetry; and some of his happiest productions are limited merely to graceful plays of the imagination. His fertility in these sports of fancy, could not fail to obtain for him the esteem of his countrymen, who were ever too ready to tolerate, and even to admire, the subtle twisting of quaint and fanciful conceits; but of all other poetic faults, most reluctant to pardon heaviness of manner, particularly in versification.
Some of Castillejo’s canciones are, however, so exquisite, that it is scarcely possible to resist the temptation of placing their author in the very foremost rank of poets.[266] But in spite of his captivating fluency of style and power of expression, most of his works bear traces of a mental boundary which every great poet oversteps. A sort of affected verbosity often usurps the place of real wit, particularly in his longer poems; and it not unfrequently happens that whole pages of Castillejo’s flowing verse are to the reader nothing more than lively prose. The strong inclination to levity, which he cannot resist, even when he wishes to be serious, is a distinguishing feature in all the poetic essays of this ingenious author, who has thus sometimes given to his works more of a French than a Spanish character.
Castillejo arranged his lyric works in three books, and they are so printed under the title of Obras Liricas. Only a small portion of these poems, however, properly belongs to the lyric class;[267] and the author doubtless collected them together, under this general title, for the purpose of distinguishing them from his comedies, which are but little known. The first book contains amatory poems, (Obras amatorias), songs, jests, epistles, glosses after the old fashion, and in conclusion, a piece which he styled a (Capitulo) on love. The songs, for the most part, commence in a serious tone,[268] but speedily assume a comic turn, with which they usually conclude.[269] Some are burlesque parodies on the affected ecstasies and extravagant metaphors of the Spanish sonnet writers. Such, for example, is the “Tower of Lamentation,” or the “Wind Tower,” (Torre de Viento,) which is supposed to be built entirely of lovers’ sighs. Some shorter poems, in the madrigal style, are among the best in this first book.[270] There is also an “Exclamatory Epistle,” (Epistola Exclamatoria,) the spirit and style of which are sufficiently indicated by the title. Among the popular verses which the playful humour of Castillejo prompted him to gloss in the form of Villancicos, is one which merely says, “If you tend my cows, my love, I will give you a kiss; but give me a kiss and I will tend yours.”[271] Productions of this description found favour with the readers for whom they were intended. His humorous poems, which are all more or less disguised under an air of seriousness, contain a tale (historia) imitated from Ovid, which may be called an idyl according to the literary terminology of the Spaniards. The second book contains conversational and diverting pieces, (obras de conversacion y de pasatiempo.) At the commencement appear the railleries of Castillejo against the Petrarchists. The longest poem in this book is a Dialogue on Women, (Dialogo de la Condicion de las Mugeres,) which is here and there enlivened by admirable sallies of wit;[272] but upon the whole it is nothing more than burlesque prose ideas dressed in easy verse.[273] The third book, which contains moral works, (obras morales,) is most prolix of all. The satires contained in this third book have certainly a moral tendency, though that object is in a great measure defeated by Castillejo’s sportive style. The moral is lost in a torrent of words, while the serious thoughts of which the verse is the vehicle, are for the most part trivial.[274] Notwithstanding the moral design of this third book, the Spanish inquisition was for some time undecided with respect to its fate. The publication of all the poems of Castillejo was prohibited; but after some further deliberation the inquisition permitted the sale of an edition, after it had undergone a rigid revisal by the censor.