CANDAMO, ZAMORA, AND CAÑIZARES, DRAMATISTS IN THE OLD NATIONAL STYLE.
Towards the close of the seventeenth century, the dramas of Francisco Bancas Cándamo, were particularly esteemed. Cándamo, who was an Asturian of noble extraction, received, during a certain period, a pension from Charles II. for writing for the court theatre at Madrid. He, however, died in indigence in the year 1709. His historical play, entitled, El Esclavo en Grillos de Oro, (the Slave in Golden Fetters), is still spoken of in terms of approbation in Spain.[572] It is a romantic anecdote taken from the history of the Emperor Trajan. The singular combination of the ancient and the romantic costume which this play presents, is a fault with which the author must not be reproached; for since Lope de Vega’s time the spirit of the Spanish drama required that the events of ancient history should be arrayed only in the garb of romance. But Cándamo has put into the mouth of the Emperor Trajan, a superabundance of phrases which are exceedingly dull, though conveyed in light and harmonious verse. The purely romantic scenes in which ladies and young knights appear, are the best in this drama, which, according to the Spanish classification is a heroic comedy.
Antonio de Zamora, a gentleman belonging to the court of Madrid, was particularly distinguished as a writer of comic dramas. The comedy, entitled, El Hechizado por Fuerza, (the Bewitched by Force),[573] is one of the most humorous and regular in the Spanish language. It may also be numbered among the dramas of character; at least the two principal parts, though a little overcharged, are nevertheless boldly conceived and consistently maintained. One is a fantastic old man, who continually expresses himself in a tone of sarcastic comic humour:—he makes a parade of his odd fancies, as if they were so many proofs of real wisdom; and he is induced to consent to a marriage under the idea that he is bewitched. The other comic character is an enamoured physician, who is prevailed on to take a part in the pretended bewitching, and who on his part is also outwitted by the sprightly girls whom he has assisted in playing off their trick on the old man.
Joseph de Cañizares, who likewise lived at the court of Madrid, produced a considerable number of Spanish comedies. He particularly devoted his attention to that class of dramas of intrigue, called comedias de figuròn, in which the principal character is a pretender or braggadocio, either male or female, who by dint of impudence and artifice, obtains a certain degree of credit. Among the dramas of Cañizares, the Spaniards particularly esteem his comedy, entitled, El Domine Lucas;[574] it is a drama of character, comic throughout, and of the most regular description, though it by no means departs from the Spanish national style. The title may be translated “The Pedant Squire;” for Domine Lucas, the hero of the piece, is a young country gentleman, a student of Salamanca, extremely dull and affected, and withal proud of his noble birth. With this character is very happily combined the uncle of Lucas, a brave, amiable, and sensible old gentleman; though, like his nephew, he interlards his discourse with scraps of latin from the Corpus Juris. An old domestic, who likewise has resource to latin whenever his wit fails him, is well grouped with his master’s. An excellent female pendant to the doltish hero is exhibited in the character of one of the daughters of the old uncle, who in the end is united to Lucas, while her sprightly sister, to whom the Domine was betrothed, elopes with a more agreeable lover. The traits of character in the whole of this comic picture, though by no means delicately sketched, are, nevertheless, full of dramatic spirit.
These, and other plays, by writers whose names are not in any other respect distinguished, complete the national treasure of the Spanish drama. The striking regularity which distinguishes some pieces, must by no means be attributed to the influence of French taste. It is possible that a vague idea of the regularity of the French comedy may at this time have penetrated into Spain; but among the older Spanish dramas, particularly those of Solis and Moreto, some are no less regular than the comedies of character written by Zamora and Cañizares; who, besides, did not always, any more than their predecessors, confine themselves rigidly within the bounds of regularity. In the works of these latter poets, the theatrical personages are precisely of the same cast as in the writings of the older dramatists. Young officers, who are usually represented as giddy lovers, boast of their adventures in Flanders, and sing romances to the accompaniment of the guitar. This part is the prototype of that which on the French stage was subsequently called the Chevalier. No trace of the imitation of French manners is perceptible; and, if here and there a French word is introduced, it is always with a comic signification.[575]
DOÑA JUANA INEZ DE LA CRUZ.
Nothing poetical produced at this period, or at least nothing sung and written in the lyric or other styles of poetry in Spain, obtained literary celebrity. It would, however, be unjust to pass over in silence some works which made their appearance about this time, and which are interesting, inasmuch as they afford instances of the continuation of the taste for old Spanish poetry. Among these, the most remarkable are the numerous productions of a Spanish American poetess, named Doña Juana Inez de la Cruz, who was much celebrated in Mexico about the latter end of the seventeenth century. On the title-page of her works, which, however, she did not publish herself, this distinguished woman is styled the tenth muse.[576] Respecting the history of her life, nothing is known, save what is mentioned in her poems. She was a nun in a Mexican convent; and she complains of her weak state of health in the verses which form the preface to her poems. Her writings sufficiently prove that she lived on terms of intimacy with the viceroy and the other Spanish grandees in Mexico, and that frequent demands were made upon her talent for the celebration of festivals, both spiritual and temporal. Much as Inez de la Cruz was deficient in real cultivation, her productions are eminently superior to the ordinary standard of female poetry. Of all the Spanish ladies who have turned their attention to poetry, she deserves to rank the highest; though, perhaps, this station may not be deemed very honourable, as Spanish women have so little distinguished themselves in poetry. But for this very reason it seems the more worthy of recollection, that under the sky of America, flowers of genius were permitted to bloom, which in Spain would in all probability have been blighted in the bud. The poems of Inez de la Cruz, moreover, breathe a sort of masculine spirit. This ingenious nun possessed more fancy and wit than sentimental enthusiasm; and whenever she began to invent, her creations were on a bold and great scale. Her poems are of very unequal merit; and are all deficient in critical cultivation. But in facility of invention and versification, Inez de la Cruz was not inferior to Lope de Vega; and yet she by no means courted literary fame. The complete collection of her poems, which seems to have been first printed by order of the Vice-Queen of Mexico, occupies a volume, consisting of twenty-five sheets in octavo. Of some of her sonnets the subjects are ingenious plays of romantic wit;[577] of others, serious poetic reflections.[578] She also wrote burlesque sonnets on rhymed endings, which, though sometimes deficient in delicacy, have all the freedom and sprightliness that can be required in that species of composition. A kind of poetic self-deception, which assumes the tone of philosophic reasoning, is disclosed in several of the lyric romances of Inez de la Cruz. She evidently took considerable pains to persuade herself that she was happy.[579] A great portion of her poems in the romance style, relate to circumstances of temporary interest. In her dramatic works, the vigour of her imagination is particularly conspicuous. The collection of her poems contains no comedies, properly so called, but it comprises a series of boldly conceived preludes, (loas), full of allegorical invention; and it concludes with a long allegorical auto, which is superior to any of the similar productions of Lope de Vega. It is entitled, El Divino Narciso, a name by which the authoress designates the heavenly Bridegroom. The Spanish public had never before witnessed so bold a travesty of the ideas of catholic christianity, under the garb of the Greek mythology. It would be impossible to give a brief, and at the same time intelligible sketch of this extraordinary drama. With regard to composition it is quite monstrous; in some respects offending by its bad taste, and in others charming by its boldness. Many of the scenes are so beautifully and romantically constructed, that the reader is compelled to render homage to the genius of the poetess; while at the same time he cannot but regret the pitch of extravagance to which ideas really poetic are carried. There is one peculiarly fine scene in which human nature, in the shape of a nymph, seeks her beloved, the real Narcissus, or the christian Saviour. The imagination of the authoress had, doubtless, been influenced by impressions received from the Song of Solomon.[580] Next to this grand Auto, the spiritual canciones in the old Spanish style, and some cantatas deserve to be distinguished among the works of Inez de la Cruz. They abound in sentimental fancies, which, though generally extravagant, often possess beauties which render them highly interesting; and according to the notices in the collection, they were all sung in the churches of Mexico. Some latin compositions of the same class are inserted, which seem also to have been written by Inez herself. The writer who may undertake a history of the poetic developement of the catholic faith, will find his advantage in rendering himself intimately acquainted with these poems.
GERARDO LOBO.
In order to be satisfied that Spanish poetry inclined very little to the French, in the early part of the eighteenth century, it is only necessary to advert to the continued influence of Gongorism at that period, as exemplified in poetic productions, which are in other respects too unimportant to claim any notice. Men of rank in particular, who, following the honourable example of their forefathers, continued to cultivate the arts and sciences, seem to have regarded Gongorism as the only style that was truly gentlemanly and worthy of their adoption. Accordingly Eugenio Gerardo Lobo, who was a captain in the Spanish guards, and commandant of the town and fortress of Barcelona, composed in his leisure hours, many spiritual and temporal poems in the manner of the Gongorists, which, since the author’s decease, have been reprinted.[581] A new edition of these poems, which appeared in 1758, is inscribed by the publisher to a miraculous image of the virgin, with all the usual formality of a dedicatory epistle. In this dedication the holy virgin, in quality of queen of heaven, is addressed by the title of “Your Majesty.” Thus in the middle of the eighteenth century, when an elegant and learned party had long rendered homage to French literature, the taste of the Spanish public could still endure absurdities of this kind.