History of Spanish Literature, vol. 3 (of 3)

by George Ticknor

Indeed, the very next is of this high order. It is that of Cervantes, who began by inserting such stories in the first part of his “Don Quixote” in 1605, and, eight years later, produced a collection of them, which he published separately. Of these tales, however, we have already spoken, and will, therefore, now only repeat, that, for originality of invention and happiness of style, they stand at the head of the class to which they belong.[142]

Others followed, of very various character. Hidalgo published, in 1605, an account of the frolics permitted during the last three days of Carnival, in which are many short tales and anecdotes, like the slightest and gayest of the Italian novelle;[143] and Suarez de Figueroa, who was no friend of Cervantes, if he was his follower, inserted other tales of a more romantic tone in his “Traveller,” which he published in 1617.[144] Perhaps, however, no writer of such fictions in the early part of the seventeenth century had more success than Salas Barbadillo, who was born at Madrid, about 1580, and died in 1630.[145] During the last eighteen years of his life, he published not less than twenty different works, all of which, except three or four that are filled with such dramas and poetry as Lope de Vega had made fashionable, consist of popular stories, neither so short as the tales of Timoneda, nor long enough to be accounted regular romances, but all written in a truly national spirit, and in a strongly marked Castilian style.

“The Ingenious Helen, Daughter of Celestina,” which is one of the earliest and most spirited of these fictions, appeared in 1612, and was frequently printed afterwards. It is the story of a courtesan, whose adventures, from the high game she undertakes to play in life, are of the boldest and most desperate kind. She is called the daughter of Celestina, because she is made to deserve that name by her talent and her crimes; but, with instinctive truth, she is at last left to perish by the most disgraceful of all the forms of a Spanish execution, for poisoning an obscure and vulgar lover. One or two minor stories are rather inartificially introduced in the course of the main narrative, and so are a few ballads, which have no value except as they serve to illustrate the ruffian life, as it was called, then to be found in the great cities of Spain. The best parts of the book are those relating to Helen herself and her machinations; and the most striking scenes, and perhaps the most true to the time, are those that occur when she rises to the height of her fortunes by setting up for a saint and imposing on all Seville.[146]

Of course, with such materials and incidents, the Helena takes much of its tone from the stories in the gusto picaresco, or the style of Spanish rogues. Quite opposite to it, therefore, in character and purpose, is “The Perfect Knight,”—a philosophical tale, not without some touch of the romances of chivalry. It is addressed to all the noble youth of the realm, at a time when the Cortes were assembled, and is intended to set the ideal of true knighthood before them, as before an audience the younger part of which might be excited to strive after its attributes and honors. To accomplish this, Barbadillo gives the history of a Spanish cavalier, who, travelling to Italy during the reign of Alfonso of Aragon, the conqueror of Naples, obtains the favor of that monarch, and, after serving him in the highest military and diplomatic posts,—commanding armies in Germany, and mediating between imaginary kings of England and Ireland,—retires to the neighbourhood of Baia and enjoys a serene and religious old age.[147]

Again, “The House of Respectable Amusements” differs from both of the preceding fictions, and exhibits another variety of their author’s very flexible talent. It relates the frolics of four gay students of Salamanca, who, wearied by their course of life at the University, come to Madrid, open a luxurious house, arrange a large hall for exhibitions, and invite the rank and fashion of the city, telling stories for the amusement of their guests, reciting ballads, and acting plays;—all of which constitute the materials that fill the volume. Six tales, however, are really the effective part of it; and the whole is abruptly terminated by the dangerous illness of the most active among the four gay cavaliers who had arranged these Lenten entertainments.[148]

But it is not necessary to examine further the light fictions of Barbadillo. It is enough to say of the rest, that “The Point-Device Knight,” in two parts, is a grotesque story in ridicule of those who pretend to be first in every thing;[149]—that “The Lucky Fool” is what its name implies;[150]—that “Don Diego” consists of the love-adventures, during nine successive nights, of a gentleman who always fails in what he undertakes;[151]—and that all of them, and all Barbadillo’s other productions, are within the range of talent of not a very high order, but uncommonly flexible, and dealing rather with the surface of manners than with the secrets of character which manners serve to hide. His latest work, entitled “Parnassian Crowns and Dishes for the Muses,” consists of a medley of verse and prose, stories and dramas, which were arranged for the press, and licensed in October, 1630; but he died immediately afterwards, and they were not printed till 1635.[152]

During the life of Barbadillo, and probably in some degree from his example and success, such fictions became frequent. “The Winter Evenings” of Antonio de Eslava, published in 1609, belong to this class, but are, indeed, so early in their date, that they may have rather given an impulse to Barbadillo than received one from him.[153] But “The Twelve Moral Tales” of Diego de Agreda, in 1620, belong clearly to his manner,[154] as does also “The Guide and Counsel for Strangers at Court,” published the same year, by Liñan y Verdugo,—a singular series of stories, related by two elderly gentlemen to a young man, in order to warn him against the dangers of a gay life at Madrid.[155] Lope de Vega, as usual, followed where success had already been obtained by others. In 1621, he added a short tale to his “Philomena,” and, a little later, three more to his “Circe”; but he himself thought them a doubtful experiment, and they, in fact, proved an unhappy one.[156] Other persons, however, encouraged by the general favor that evidently waited on light and amusing collections of stories, crowded more earnestly along in the same path;—Salazar, with his “Flowers of Recreation,” in 1622;[157]—Lugo, with his “Novelas,” the same year;[158]—and Camerino, with his “Love Tales,”[159] only a year later;—all the last six works having been produced in three years, and all belonging to the school of Timoneda, as it had been modified by the genius of Cervantes and the practical skill of Salas Barbadillo.

This was popular success; but it was so much in one direction, that its results became a little monotonous. Variety, therefore, was soon demanded; and, being demanded by the voice of fashion, it was soon obtained. The new form, thus introduced, was not, however, a violent change. It was made by a well-known dramatic author, who—taking a hint from the “Decamerone,” already in part adopted by Barbadillo, in his “House of Respectable Amusements”—substituted a theatrical framework to connect his separate stories, instead of the merely narrative one used by Boccaccio and his followers. This fell in, happily, with the passion for the stage which then pervaded all Spain, and it was successful.

The change referred to is first found in the “Cigarrales de Toledo,” published in 1624, by Gabriel Tellez, who, as we have already observed, when he left his convent and came before the public as a secular author, always disguised himself under the name of Tirso de Molina. It is a singular book, and takes its name from a word of Arabic origin peculiar to Toledo; Cigarral signifying there a small country-house in the neighbourhood of the city, resorted to only for recreation and only in the summer season. At one of these houses Tirso supposes a wedding to have happened, under circumstances interesting to a large number of persons, who, wishing in consequence of it to be much together, agreed to hold a series of entertainments at their different houses, in an order to be determined by lot and under the superintendence of one of their company, each of whom, during the single day of his authority, should have supreme control and be responsible for the amusements of the whole party.

The “Cigarrales de Toledo” is an account of these entertainments, consisting of stories that were read or related at them, poetry that was recited, and plays that were acted,—in short, of all that made up the various exhibitions and amusements of the party. Some portions of it are fluent and harmonious beyond the common success of the age; but in general, as in the descriptions and in the poor contrivance of the “Labyrinth,” it is disfigured by conceits and extravagances, belonging to the follies of Gongorism. The work, however, pleased, and Tirso himself prepared another of the same kind, called “Pleasure and Profit,”—graver and more religious in its tone, but of less poetical merit,—which was written in 1632, and printed in 1635. But, though both were well received, neither was finished. The last ends with the promise of a second part, and the first, which undertakes to give an account of the entertainments of twenty days, embraces, in fact, only five.[160]