History of Spanish and Portuguese Literature (Vol 2 of 2)

by Friedrich Bouterwek

But in order to pursue the comparison between the romance and lyric poetry of Portugal and of Spain, an intimate acquaintance with the old Portuguese Cancioneiros geraes (general song books), is indispensable. Collections of this kind seem to have appeared as early as the fifteenth century. Writers on literature, however, usually refer to the Cancioneiro, which was printed in the year 1516, by Garcia de Resende, a man of talent, who flourished at the courts of John II. and Emanuel the Great.[21] A later collection of the same kind, which was edited by Father Pedro Ribeyro, professor of poetry, in the second half of the sixteenth century, has never yet been printed. The manuscript is dated 1577.[22] According to the statements of writers who seem to have been acquainted with Garcia de Resende’s work, it would appear that this old Portuguese Cancioneiro contains many more poetic names than the better known Spanish collection of the same kind, and that among these names are several writers who lived in the fourteenth century.[23] Here the author of this history of Portuguese literature, who has vainly endeavoured to render himself acquainted with Garcia de Resende’s interesting collection, must deplore that he is now compelled to leave a chasm which cannot be easily filled up; for this certainly is the place in which it would be most proper to endeavour to discover, in those features, which were doubtless common to all, or at least to most of the Portuguese lyric bards of the fifteenth century, the nature of the original difference of Portuguese and Spanish genius. It may, however, be presumed that the Portuguese poets, who were at this period so much more numerous than the Spanish, had advanced no farther than the latter in poetic refinement, for even Bernardim Ribeyro, called the Portuguese Ennius,[24] who lived until the commencement of the sixteenth century, and who is more celebrated than any other poetic writer of the fifteenth century, does not surpass the authors of the old Spanish ballads, in any thing connected with the cultivation of genius and the improvement of poetic language. Thus in all literary probability the Portuguese Cancioneiro geral is merely a companion work to the Spanish collection. But the preponderating number of the poetic writers of Portugal, compared with those of Spain during the fifteenth century, is a circumstance particularly deserving of notice, since it proves that the soil of Portugal was then, as well as at an earlier period, even more fertile than Spain in poetic genius. Still, however, this indicates no peculiarly eminent talent. It is also but fair to observe, lest the superior number of the Portuguese poets, in proportion to the limited extent of their native land, should be too highly estimated, that in the fifteenth century, the Castilian monarchy was not what it now is; for it was bounded on the south by the Moorish kingdom of Granada, and on the east by the Arragonian dominions, where the Limosin language exclusively prevailed.

DEFICIENCY WITH REGARD TO HISTORICAL ROMANCES—LITTLE INFLUENCE OF THE CULTIVATION OF LATIN VERSE ON PORTUGUESE LYRIC POETRY.

Narrative and particularly historical romances seem never to have been so highly esteemed by the Portuguese as by the Spaniards. It is probable that in this class of composition the Portuguese merely imitated the Spaniards, whom they instructed, on the other hand, in bucolic poetry.[25]

The enthusiasm with which the Portuguese devoted themselves to the cultivation of lyric poetry in their native tongue, was not abated by the passion for latin poetry, which towards the close of the fifteenth century prevailed in Portugal as well as in Italy. This literary coincidence was probably occasioned by the commercial intercourse which then subsisted between Portugal and Italy. The fame of Angelo Poliziano attracted one of his most ardent admirers, the ingenious Henrique Cayado, better known by the name of Ermigius, from Portugal to Italy, where he entered the ranks of the revivers of latin poetry. Cayado was imitated by a considerable number of Portuguese writers who became celebrated for the composition of latin verse.[26] But it does not appear that the national poetry, in the vernacular language, was in any way neglected or despised by the Portuguese nobility; and the favour of the great exercised a more powerful influence over the poetic spirit of the nation, than the example of the learned. There is also very little ground for supposing that the Portuguese writers endeavoured to form the romantic poetry of their country on the model of the antique. A correct notion of the essential distinction between romantic and classic composition secured at this period the Portuguese as well as the Italians against the introduction of incongruous and spurious forms in their poetry; and taste was not yet sufficiently cultivated to admit of a judicious union of the classic and the romantic styles.

EARLY CULTIVATION OF HISTORICAL PROSE.

The general improvement of the language, and the renewed intimacy with ancient literature, had even as early as the first half of the fifteenth century an advantageous influence on the Portuguese chronicle writers. At this period a very copious chronicle of the reign of King John I. of Portugal, was written in the Portuguese language, by a knight and statesman, named Fernando Lopes. This writer distinguished himself as early as the reign of King Duarte, or Edward, whose successor, Alphonso V. in the year 1449, conferred on him the dignity of Cronista, or state-historiographer.[27] The narrative style of this diligent compiler is, indeed, quite as dull and monotonous as that of the older Portuguese chroniclers; but he obviously made efforts to express himself with a certain degree of dignity. He neglects no opportunity of making his historical characters deliver speeches, after the manner of the ancient writers; and a certain degree of energetic simplicity is to be found in some of those harangues.[28]

INCREASE OF PORTUGUESE POWER, FOLLOWED BY THE RAPID DEVELOPEMENT OF THE NATIONAL POETRY AT THE COMMENCEMENT OF THE SIXTEENTH CENTURY.

Meanwhile the Portuguese monarchy approached the summit of its power and glory. While Spain, under the dominion of Ferdinand and Isabella, began to form itself internally into a single state, the government and people of Portugal directed their attention to discoveries and conquests in Africa and India. A peculiar union of the heroism of chivalry, and the industry of social life which prevailed in Portugal, under the auspices of her enterprising sovereigns, impressed on the nation a consciousness of power, in which the Portuguese were in no respect inferior to the Castilians. The flag of Portugal waved along the western coast of Africa, where Portuguese factories began to be converted into colonies, extending towards the Cape which Vasco de Gama doubled in the year 1498. In less than fifteen years after this memorable event, Portuguese valour, guided by the renowned leaders Francisco de Almeida and Alfonso de Albuquerque, succeeded in founding a kingdom in India, of which Goa was the capital. At this period, during the glorious reign of Emanuel, who in the series of Portuguese sovereigns is distinguished by the surname of the Great, no Spanish poet had attained so much celebrity as was enjoyed by the Portuguese Bernardim, or (according to the more ancient orthography of that name) Bernaldim Ribeyro. A comprehensive idea of the nature of that romantic spirit, which every Portuguese poet conceived himself bound to exhibit in the fulfilment of his poetic destination, may be gathered from an account of the life and writings of this extraordinary man.

BERNARDIM RIBEYRO.

This poet received such a literary education as was in those times required for the study of the law, and a subsequent residence at court. King Emanuel, conferred on him the appointment of moço fidalgo (gentleman of the chamber). Ribeyro found at the court of that sovereign an object capable of fixing his poetic fancy, but not his future happiness; for from that time forward the heart of this sentimental enthusiast appears to have been incessantly agitated by sad emotions. Portuguese writers insinuate that the Infanta Dona Beatrice, the king’s daughter, was the lady of whom the unfortunate Ribeyro was enamoured. It is evident from his writings, that he has studiously thrown a veil over the secret of his heart. We are not informed how he reconciled this passion with his domestic relations, or whether at the period of his marriage he had emancipated himself from those romantic illusions which at other times exercised so powerful a dominion over him. It is related that he frequently retired to the woods where he passed the night alone, singing to the murmuring brooks his songs of passion and despair. But it is also said that he tenderly loved his wife, and after her death showed no inclination to enter, a second time, into the married state. There is no possibility of reconciling these psychological inconsistencies, since it is not known at what period of his life Ribeyro retired from court. Neither is it recorded at what period or at what age he died. But that he cherished romantic fancies in real life, as well as in his poetry, is a fact which is sufficiently confirmed by the accounts which have been preserved of his conduct and by the general character of his writings.[29]