Luis de Leon. 33. The best lyric poet of Spain in the opinion of many, with whom I venture to concur, was Fra Luis Ponce de Leon, born in 1527, and whose poems were probably written not very long after the middle of the century. The greater part are translations, but his original productions are chiefly religious, and full of that soft mysticism which allies itself so well to the emotions of a poetical mind. One of his odes, De la Vida del Cielo, which will be found entire in Bouterwek, is an exquisite pieces of lyric poetry, which, in its peculiar line of devout aspiration, has perhaps never been excelled.[1166] But the warmth of his piety was tempered by a classical taste, which he had matured by the habitual imitation of Horace. “At an early age,” says Bouterwek, “he became intimately acquainted with the odes of Horace, and the elegance and purity of style which distinguish those compositions made a deep impression on his imagination. Classical simplicity and dignity were the models constantly present to his creative fancy. He, however, appropriated to himself the character of Horace’s poetry too naturally ever to incur the danger of servile imitation. He discarded the prolix style of the canzone, and imitated the brevity of the strophes of Horace in romantic measures of syllables and rhymes; more just feeling for the imitation of the ancients was never evinced by any modern poet. His odes have, however, a character totally different from those of Horace, though the sententious air which marks the style of both authors imparts to them a deceptive resemblance. The religious austerity of Luis de Leon’s life was not to be reconciled with the epicurism of the Latin poet; but notwithstanding this very different disposition of the mind, it is not surprising that they should have adopted the same form of poetic expression, for each possessed a fine imagination, subordinate to the control of a sound understanding. Which of the two is the superior poet, in the most extended sense of the word, it would be difficult to determine, as each formed his style by free imitation, and neither overstepped the boundaries of a certain sphere of practical observation. Horace’s odes exhibit a superior style of art; and from the relationship between the thoughts and images, possess a degree of attraction which is wanting in those of Luis de Leon; but, on the other hand, the latter are the more rich in that natural kind of poetry, which may be regarded as the overflowing of a pure soul, elevated to the loftiest regions of moral and religious idealism.”[1167] Among the fruits of these Horatian studies of Luis de Leon, we must place an admirable ode suggested by the prophecy of Nereus, wherein the genius of the Tagus, rising from its waters to Rodrigo, the last of the Goths, as he lay encircled in the arms of Cava, denounces the ruin which their guilty loves were to entail upon Spain.[1168]
[1166] P. 248.
[1167] P. 243.
[1168] This ode I first knew many years since by a translation in the poems of Russell, which are too little remembered, except by a few good judges. It has been surmised by some Spanish critics to have suggested the famous vision of the Spirit of the Cape to Camoens; but the resemblance is not sufficient, and the dates rather incompatible.
Herrera. 34. Next to Luis de Leon in merit, and perhaps above him in European renown, we find Herrera surnamed the divine. He died in 1578; and his poems seem to have been first collectively published in 1582. He was an innovator in poetical language, whose boldness was sustained by popularity, though it may have diminished his fame. “Herrera was a poet,” says Bouterwek, “of powerful talent, and one who evinced undaunted resolution in pursuing the new path which he had struck out for himself. The noble style, however, which he wished to introduce into Spanish poetry, was not the result of a spontaneous essay, flowing from immediate inspiration, but was theoretically constructed on artificial principles. Thus, amidst traits of real beauty, his poetry everywhere presents marks of affectation. The great fault of his language is too much singularity; and his expression, where it ought to be elevated, is merely far fetched.”[1169] Velasquez observes that, notwithstanding the genius and spirit of Herrera, his extreme care to polish his versification has rendered it sometimes unpleasing to those who require harmony and ease.[1170]
[1169] P. 229.
[1170] Geschichte der Spanischen Dichtkunst, p. 207.
35. Of these defects in the style of Herrera I cannot judge; his odes appear to possess a lyric elevation and richness of phrase, derived in some measure from the study of Pindar, or still more, perhaps, of the Old Testament, and worthy of comparison with Chiabrera. Those on the battle of Lepanto are most celebrated; they pour forth a torrent of resounding song, in those rich tones which the Castilian language so abundantly supplies. I cannot so thoroughly admire the ode addressed to sleep, which Bouterwek as well as Sedano extol. The images are in themselves pleasing and appropriate, the lines steal with a graceful flow on the ear; but we should desire to find something more raised above the commonplaces of poetry.
General tone of Castilian poetry. 36. The poets of this age belong generally, more or less, to the Italian school. Many of them were also translators from Latin. In their odes, epistles, and sonnets, the resemblance of style, as well as that of the languages, make us sometimes almost believe that we are reading the Italian instead of the Spanish Parnaso. There seem however to be some shades of difference even in those who trod the same path. The Castilian amatory verse is more hyperbolical, more full of extravagant metaphors, but less subtle, less prone to ingenious trifling, less blemished by verbal conceits than the Italian. Such at least is what has struck me in the slight acquaintance I have with the former. The Spanish poets are also more redundant in descriptions of nature, and more sensible to her beauties. I dare not assert that they have less grace and less power of exciting emotion; it may be my misfortune to have fallen rarely on such passages.
Castillejo. 37. It is at least evident that the imitation of Italy, propagated by Boscan and his followers, was not the indigenous style of Castile. And of this some of her most distinguished poets were always sensible. In the Diana of Montemayor, a romance which, as such, we shall have to mention hereafter, the poetry, largely interspersed, bears partly the character of the new, partly that of the old or native school. The latter is esteemed superior. Castillejo endeavoured to restore the gay rhythm of the redondilla, and turned into ridicule the imitators of Petrarch. Bouterwek speaks rather slightingly of his generally poetic powers; though some of his canciones have a considerable share of elegance. His genius, playful and witty, rather than elegant, seemed not ill-fitted to revive the popular poetry.[1171] But those who claimed the praise of superior talents did not cease to cultivate the polished style of Italy. The most conspicuous, perhaps, before the end of the century were Gil Polo, Espinel, Lope de Vega, Barahona de Soto, and Figueroa.[1172] Several other names, not without extracts, will be found in Bouterwek.