A History of Spanish LiteratureFitzmaurice-Kelly, James
History
A History of Spanish Literature
Fitzmaurice-Kelly, James
Spanish literature -- History and criticism
In sober truth, this Arab myth is but a bad dream of yesterday, a
nightmare following upon an undigested perusal of the _Thousand and One
Nights_. Thanks to Galland, Cardonne, and Herbelot, the notion became
general that the Arabs were the great creative force of fiction. To
father Spanish _romances_ and Provençal _trobas_ upon them is a mere
freak of fancy. The tacit basis of this theory is that the Spaniards
took a rare interest in the intellectual side of Arab life; but the
assumption is not justified by evidence. Save in a casual passage,
as that in the _Crónica General_ on the capture of Valencia, the
Castilian historians steadily ignore their Arab rivals. On the other
hand, there is a class of _romances fronterizos_ (border ballads),
such as that on the loss of Alhama, which is based on Arabic legends;
and at least one such ballad, that of Abenamar, may be the work of a
Spanish-speaking Moor. But these are isolated cases, are exceptional
solely as regards the source of the subject, and nowise differ in form
from the two thousand other ballads of the _Romanceros_. To find a case
of real imitation we must pass to the fifteenth century, when that
learned lyrist, the Marqués de Santillana, deliberately experiments in
the measures of an Arab _zajal_, a performance matched by a surviving
fragment due to an anonymous poet in the _Cancionero de Linares_. These
are metrical audacities, resembling the revival of French _ballades_
and _rondeaux_ by artificers like Mr. Dobson, Mr. Gosse, and Mr. Henley
in our own day. On the strength of two unique modern examples in the
history of Castilian verse, it would be unjustifiable to believe, in
the teeth of all other evidence, that simple strollers intuitively
assimilated rhythms whose intricacy bewilders the best experts. This
is not to say that Arabic popular poetry had no influence on such
popular Spanish verse as the _coplas_, of which some are apparently but
translations of Arabic songs. That is an entirely different thesis; for
we are concerned here with literature to which the halting _coplas_ can
scarcely be said to belong.
Public-domain text, read in full here on John Shaqi.
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