SEDANO.
The publication of the choice Spanish poems, collected by Don Juan Joseph Lopez de Sedano, was a circumstance very favourable to the restoration of the poetry of the sixteenth and seventeenth centuries to its proper place in Spanish literature. This work appeared in the year 1768, under the title of the Parnaso Español; but there certainly would have been little difficulty in producing a better collection. The notions which Sedano entertained respecting religion and morality have induced him to mingle not a few bad and indifferent productions with poems of superior merit; and it was by no means a happy idea to reprint long translations, such, for example, as the whole of Tasso’s Amynta, when so much of the rich fruit of the original Spanish stock remained ungathered. But the undertaking was praiseworthy; and the biographical and literary notices annexed to the work rendered the Spanish public once more acquainted with estimable authors whom it ought never to have forgotten.
YRIARTE.
Tomas de Yriarte, general archivist to the high council of war, and translator to one of the ministerial departments of state in Madrid, combined French elegance with the ancient forms of Spanish poetry in a manner very different from that of La Huerta. After he had acquired a certain degree of reputation by several translations of French dramas, by original poems in the latin language, and various other literary labours, he obtained more decidedly the favour of the elegant portion of the Spanish public by his Fabulas Literarias, (Literary Fables), which were first printed in the year 1782.[613] Yriarte conceived the novel idea of rendering literary truths, many of which may at the same time be regarded as moral truths, themes for fables in the style of Æsop; and of composing these fables in every variety of verse which was in any way applicable to them. No classical fabulist had hitherto appeared in Spanish literature. Yriarte’s fables are, however, not only remarkable for their classic language and excellent versification, but they possess a peculiar charm of style which may be mistaken for a happy imitation of the manner of Lafontaine, though it is to be traced to a different source. Like Lafontaine, Yriarte had a true feeling for that delicate harmony which is so indispensable to the fabulist, and for that spirited infantine style, which, in a graceful prattling, playfully unfolds the truth as it were intuitively, and, as it ought always to be disclosed, in apologue, without the slightest trace of didactic design. He had no need to turn to the writings of foreigners in quest of the literary elements of such a style. It was only necessary to combine the exquisite simplicity of many old Spanish romances and songs, with the true spirit of Æsopian fable, and his narrative style could not fail to assume the tone in which it so successfully rivalled the manner of Lafontaine. Accordingly among Yriarte’s sixty-seven literary fables, those which are composed in redondillas and other kinds of Spanish national measures, possess the superiority in point of graceful execution. Some are not remarkable for their didactic merits. But even when the idea, or what is styled the moral, presents no particular interest, Yriarte’s fables please by the graceful handling of the subject: an example of this may be seen in the fable of the Ass, which finding a flute in a meadow, accidentally breathes into the lip-hole with his nose, and on hearing the tone of the instrument, persuades himself that nature has qualified him for a musician.[614] Whether Yriarte wholly invented these fables, is a question which can only be decided by laborious investigation. One of the number, in so far as regards the lesson or moral, precisely resembles Gellert’s fable of the Painter in Athens.[615] Yet this circumstance by no means warrants the inference that it is borrowed.
Considerable praise has been bestowed on a didactic poem by Yriarte, entitled Music;[616] but with all the merits which this production may in other respects possess, it is no less deficient in the true characteristics of a didactic poem, than are the earlier essays of the Spaniards in the same class. It is judiciously conceived, executed with the requisite elegance of language, and contains many passages which are by no means destitute of poetic beauty.[617] But the systematic form is not disguised by poetic composition. Instead of diffusing a poetic interest over the truths which were to be inculcated, and presenting even the instruction as a picture of the imagination, according to the proper though seldom realized idea of a didactic poem, Yriarte, like most didactic poets, regarded instruction as the main object, and the creations of poetic fancy merely as accessory embellishments: thus three-fourths of his work consist only of elegantly versified prose.[618]
LEON DE ARROYAL.
To give an account of all the other poets, who at the latter end of the eighteenth century contributed to restore the credit of Spanish poetry, is a task which must be consigned to other historians of literature, who may possess favourable opportunities for rendering themselves intimately acquainted with the more recent productions of Spanish genius. A considerable number of bibliographic notices which would contribute to the accomplishment of this object are extant.[619]
In taking a survey, however, of the latest period of the history of Spanish poetry, the odes of Leon de Arroyal must not be overlooked.[620] Though these odes are inferior to the older Spanish productions of the same sort, yet some of them are distinguished, not indeed for bold, but for airy flights of fancy;[621] and for harmonious versification.[622] At the time of their appearance there were likewise published anonymously some anacreontic songs by a lady, who imitated Villegas with grace as well as with decorum.[623]
JUAN MELENDEZ VALDES.
But a poet of the graces, who has had but few equals even in the golden ages of Spanish poetry, and who excels in his particular sphere, remains to be noticed. This ornament of modern Spanish literature, is Juan Melendez Valdes, a doctor of law, and, perhaps, still professor of polite literature in Salamanca. A delicate fancy, ever lively, yet ever true to nature; an uncommon intensity of feeling; graceful turns of thought; a classic precision and elegance of language, and the most pleasing flow of versification, exist in so eminent a degree, and are so happily combined in this author’s works, that the critic is compelled to become a panegyrist, if he be not totally insensible to the charm which such a phenomenon presents in modern poetry.[624] At an early period of life, Melendez began to retrace the footsteps of Horace, Tibullus, Anacreon, and Villegas; but, as he must have felt that the luxuriant graces of his Spanish model were not to be excelled, his imagination appears to have spontaneously applied itself to a more exquisite painting of amatory ideas and images, and to the dignifying of that kind of poetry by a certain moral delicacy to the observance of which Villegas attached too little importance. The joys, sorrows, and sports of rustic love, rural festivals and amusements, are the materials which confer a peculiar character on the anacreontic effusions of Melendez. Were it not that the picturesque descriptions sufficiently indicate the Spaniard,[625] his verses might sometimes be mistaken for translations from an English or German poet. Nothing can surpass some of his descriptions in the graceful colouring of tender sentiment.[626] It is only necessary to bestow a slight glance on the compositions of Melendez to feel the injustice of the reproach cast on Spanish poetry, by a French traveller, who observes “that the Spaniard is so completely a citizen, that not even in his poetry does he manifest a taste for rural life.” This reproach, which is probably only directed against the poetic writers of the present day, would be unworthy of notice were it intended to apply to the Spanish poets of the sixteenth and seventeenth centuries, whose numerous pastoral compositions abound in descriptions of rural scenery, which evince an intuitive perception of the poetic beauties of unsophisticated nature. Be this as it may, the Spanish academy thought proper, in the year 1780, to award a prize for the best poem in praise of rural life; and on this occasion Melendez gloriously competed with Yriarte.