Nor could it be otherwise;—for ballads, in the seventeenth century, had become the delight of the whole Spanish people. The soldier solaced himself with them in his tent, and the muleteer amidst the sierras; the maiden danced to them on the green, and the lover sang them for his serenade; they entered into the low orgies of thieves and vagabonds, into the sumptuous entertainments of the luxurious nobility, and into the holiday services of the Church; the blind beggar chanted them to gather alms, and the puppet-showman gave them in recitative to explain his exhibition; they were a part of the very foundation of the theatre, both secular and religious, and the theatre carried them everywhere, and added everywhere to their effect and authority. No poetry of modern times has been so widely spread through all classes of society, and none has so entered into the national character. The ballads, in fact, seem to have been found on every spot of Spanish soil. They seem to have filled the very air that men breathed.[56]
CHAPTER XXXIII.
Romantic Fiction. — Change of Manners produces a Change of the Fictions founded upon them. — Pastoral Romance and its Origin: Montemayor and his Diana, with its Continuations by Perez and Polo: Lo Frasso, Montalvo, Cervantes, Enciso, Bovadilla, Bernardo de la Vega, Lope de Vega, Balbuena, Figueroa, Adorno, Botelho, Quintana, Corral, Saavedra. — Characteristics of Pastoral Fiction.
The romances of chivalry, like the institutions on which they were founded, lingered long in Spain. Their grave fictions were suited to the air of the stern old castles with which the Moorish contest had studded large portions of the country, while their general tone harmonized no less happily with the stately manners which the spirit of knighthood had helped to impress on the higher classes of society, from the mountains of Biscay to the shores of the Mediterranean. Their influence, therefore, was great; and, as one natural result of its long continuance, other and better forms of prose fiction were discountenanced in Spain, or appeared later than they might have done under different circumstances;—a fact to which Cervantes alludes, when, even at the opening of the seventeenth century, he complains that Spanish books of the latter character were still rarely to be found.[57]
Fifty years, however, before that period, signs of a coming change are perceptible. The magnificent successes of Charles the Fifth had already filled the minds of men with a spirit of adventure very different from that of Amadis and his descendants, though sometimes hardly less wild and extravagant. The cruel wars unceasingly kept up with the Barbary powers, and the miseries of the thousands of captives who returned from Africa, to amaze their countrymen with tragical stories of their own trials and those of their fellow-sufferers, were full of that bitter romance of real life which outruns all fiction. Manners, too,—the old, formal, knightly manners of the nobility,—were beginning to be modified by intercourse with the rest of the world, and especially with Italy, then the most refined and least military country of Christendom; so that romantic fiction—the department of elegant literature, which, above every other, depends on the state of society—was naturally modified in Spain by the great changes going on in the external relations and general culture of the kingdom. Of this state of things, and of its workings in the new forms of fiction produced by it, we shall find frequent proofs as we advance.
The first form, however, in which a change in the national taste manifested itself with well-defined success—that of prose pastorals—is perhaps not one which would have been anticipated even by the more sagacious; though, when we now look back upon its history, we can easily discover some of the foundations on which it was originally built.
From the Middle Ages the occupations of a shepherd’s life had prevailed in Spain and Portugal to a greater extent than elsewhere in Europe;[58] and, probably in consequence of this circumstance, eclogues and bucolics were early known in the poetry of both countries, and became connected in both with the origin of the popular drama. On the other hand, the military spirit of such a civilization as existed in Spain down to the sixteenth century may have gladly turned away from such a monotonous exaggeration of its own character as is found in the romances of chivalry, and sought refreshment and repose in the peace and simplicity of a fabulous Arcadia. At least, these are the two obvious circumstances in the condition and culture of Spain, that favored the appearance of so singular a form of fiction as that of prose pastorals, though how much influence either exercised it may now be impossible to determine.
On one point, however, we are not left in doubt. We know whence the impulse came that called forth such a work for the first time in Castilian literature, and when it appeared there. It was Sannazaro,—a Neapolitan gentleman, whose family had been carried from Spain to Naples by the political revolutions of the preceding century,—who is the true father of the modern prose pastoral, which, from him, passed directly to Spain, and, during a long period of success in that country, never entirely lost the character its author had originally impressed upon it. His “Arcadia”—written, probably, without any reference to the Greek pastoral of Longus, but hardly without a knowledge of the “Ameto” of Boccaccio and the Eclogues of Bembo—was first published entire, at Naples, in 1504.[59] It is a genuine pastoral romance in prose and verse, in which, with a slight connecting narrative, and under the disguise of the loves of shepherds and shepherdesses, Sannazaro relates adventures that really occurred to him and to some of his friends;—he himself appearing under the name of Sincero, who is its principal personage. Such a work, of course, is somewhat fantastic from its very nature; but the fiction of Sannazaro was written in the purest and most graceful Italian, and had a great success;—a success which, perhaps, from the Spanish connections of his family, was early extended to Spain. At any rate, Spain was the first foreign country where the Arcadia was imitated, and was afterwards the only one where such works appeared in large numbers, and established a lasting influence.
It is singular, however, that, like the romances of chivalry, pastoral romance was first introduced into Spain by a Portuguese,—by George of Montemayor, a native of the town of that name, near Coimbra. When he was born we are not told; probably it was before 1520. In his youth he was a soldier; but later, from his skill in music, he became attached to the travelling chapel of the prince of Spain, afterwards Philip the Second, and thus enjoyed an opportunity of visiting foreign countries, especially Italy and Flanders. But his mind was little cultivated by study. He knew no Latin, which even those of the humblest literary attainments were wont to acquire, in the age when he lived; so that his success is due to his own genius and to the promptings of that passion which gave its color to his life. Probably he left Spain from disappointment in love; probably, too, he perished in a duel at Turin, in 1561. But we know nothing more of him with any tolerable certainty.[60]