Regarded as a work of art, Palmerin of England is second only to the Amadis of Gaul, among the romances of chivalry. Like that great prototype of the whole class, it has among its actors two brothers,—Palmerin, the faithful knight, and Florian, the free gallant,—and, like that, it has its great magician, Deliante, and its perilous isle, where occur not a few of the most agreeable adventures of its heroes. In some respects, it may be favorably distinguished from its model. There is more sensibility to the beauties of natural scenery in it, and often an easier dialogue, with quite as good a drawing of individual characters. But it has greater faults; for its movement is less natural and spirited, and it is crowded with an unreasonable number of knights, and an interminable series of duels, battles, and exploits, all of which claim to be founded on authentic English chronicles and to be true history, thus affording new proof of the connection between the old chronicles and the oldest romances. Cervantes admired it excessively. “Let this Palm of England,” says his curate, “be cared for and preserved, as a thing singular in its kind, and let a casket be made for it, like that which Alexander found among the spoils of Darius, and destined to keep in it the works of the poet Homer”; praise, no doubt, much stronger than can now seem reasonable, but marking, at least, the sort of estimation in which the romance itself must have been generally held, when the Don Quixote appeared.
But the family of Palmerin had no further success in Spain. A third and fourth part, indeed, containing “The Adventures of Duardos the Second,” appeared in Portuguese, written by Diogo Fernandez, in 1587; and a fifth and sixth are said to have been written by Alvarez do Oriente, a contemporary poet of no mean reputation. But the last two do not seem to have been printed, and none of them were much known beyond the limits of their native country.[383] The Palmerins, therefore, notwithstanding the merits of one of them, failed to obtain a fame or a succession that could enter into competition with those of Amadis and his descendants.
The “Bibliotheca Hispana” has already been referred to more than once in this chapter, and must so often be relied on as an authority hereafter that some noticeof its claims should be given before we proceed farther. Its author, Nicolas Antonio, was born at Seville, in 1617. He was educated, first by the care of Francisco Jimenez, a blind teacher, of singular merit, attached to the College of St. Thomas in that city; and afterwards at Salamanca, where he devoted himself with success to the study of history and canon law. When he had completed an honorable career at the University, he returned home, and lived chiefly in the Convent of the Benedictines, where he had been bred, and where an abundant and curious library furnished him with means for study, which he used with eagerness and assiduity.
He was not, however, in haste to be known. He published nothing till 1659, when, at the age of forty-two, he printed a Latin treatise on the Punishment of Exile, and, the same year, was appointed to the honorable and important post of General Agent of Philip IV. at Rome. But from this time to the end of his life he was in the public service, and filled places of no little responsibility. In Rome he lived twenty years, collecting about him a library said to have been second in importance only to that of the Vatican, and devoting all his leisure to the studies he loved. At the end of that period, he returned to Madrid, and continued there in honorable employments till his death, which occurred in 1684. He left behind him several works in manuscript, of which his “Censura de Historias Fabulosas”—an examination and exposure of several forged chronicles which had appeared in the preceding century—was first published by Mayans y Siscar, and must be noticed hereafter.
But his great labor—the labor of his life and of his fondest preference—was his literary history of his own country. He began it in his youth, while he was still living with the Benedictines,—an order in the Romish Church honorably distinguished by its zeal in the history of letters,—and he continued it, employing on his task all the resources which his own large library and the libraries of the capitals of Spain and of the Christian world could furnish him, down to the moment of his death. He divided it into two parts. The first, beginning with the age of Augustus, and coming down to the year 1500, was found, after his death, digested into the form of a regular history; but as his pecuniary means, during his lifetime, had been entirely devoted to the purchase of books, it was published by his friend Cardinal Aguirre, at Rome, in 1696. The second part, which had been already printed there, in 1672, is thrown into the form of a dictionary, whose separate articles are arranged, like those in most other Spanish works of the same sort, under the baptismal names of their subjects,—an honor shown to the saints, which renders the use of such dictionaries somewhat inconvenient, even when, as in the case of Antonio’s, full indexes are added, which facilitate a reference to the respective articles by the more common arrangement, according to the surnames.
Of both parts an excellent edition was published in the original Latin, at Madrid, in 1787 and 1788, in four volumes, folio, commonly known as the “Bibliotheca Vetus et Nova of Nicolas Antonio”; the first being enriched with notes by Perez Bayer, a learned Valencian, long the head of the Royal Library at Madrid; and the last receiving additions from Antonio’s own manuscripts that bring down his notices of Spanish writers to the time of his death in 1684. In the earlier portion, embracing the names of about thirteen hundred authors, little remains to be desired, so far as the Roman or the ecclesiastical literary history of Spain is concerned; but for the Arabic we must go to Casiri and Gayangos, and for the Jewish to Castro and Amador de los Rios; while, for the proper Spanish literature that existed before the reign of Charles V., manuscripts discovered since the careful labors of Bayer furnish important additions. In the latter portion, which contains notices of nearly eight thousand writers of the best period of Spanish literature, we have—notwithstanding the occasional inaccuracies and oversights inevitable in a work so vast and so various—a monument of industry, fairness, and fidelity, for which those who most use it will always be most grateful. The two, taken together, constitute their author, beyond all reasonable question, the father and founder of the literary history of his country.
See the lives of Antonio prefixed by Mayans to the “Historias Fabulosas,” (Valencia, 1742, fol.,) and by Bayer to the “Bibliotheca Vetus,” in 1787.