History of Spanish Literature, vol. 1 (of 3)Ticknor, George
History
History of Spanish Literature, vol. 1 (of 3)
Ticknor, George
Spanish literature -- History and criticism
Everywhere in Europe, during the period we have just gone over, the
courts of the different sovereigns were the principal centres of
refinement and civilization. From accidental circumstances, this was
peculiarly the case in Spain, during the thirteenth and fourteenth
centuries. On the throne of Castile, or within its shadow, we have
seen a succession of such poets and prose-writers as Alfonso the Wise,
Sancho, his son, Don John Manuel, his nephew, and the Chancellor Ayala,
to say nothing of Saint Ferdinand, who preceded them all, and who,
perhaps, gave the first decisive impulse to letters in the centre of
Spain and at the North.[164]
[164] Alfonso el Sabio says of his father, St. Ferdinand: “And,
moreover, he liked to have men about him who knew how to make
verses (_trobar_) and sing, and Jongleurs, who knew how to play
on instruments. For in such things he took great pleasure, and
knew who was skilled in them and who was not.” (Setenario,
Paleographía, pp. 80-83, and p. 76.) See, also, what is said
hereafter, when we come to speak of Provençal literature in
Spain, Chap. XVI.
But the literature produced or encouraged by these and other
distinguished men, or by the higher clergy, who, with them, were the
leaders of the state, was by no means the only literature that then
existed within the barrier of the Pyrenees. On the contrary, the spirit
of poetry was, to an extraordinary degree, abroad throughout the whole
Peninsula, so far as it had been rescued from the Moors, animating
and elevating all classes of its Christian population. Their own
romantic history, whose great events had been singularly the results of
popular impulse, and bore everywhere the bold impress of the popular
character, had breathed into the Spanish people this spirit; a spirit
which, beginning with Pelayo, had been sustained by the appearance,
from time to time, of such heroic forms as Fernan Gonzalez, Bernardo
del Carpio, and the Cid. At the point of time, therefore, at which
we are now arrived, a more popular literature, growing directly out
of the enthusiasm which had so long pervaded the whole mass of the
Spanish people, began naturally to appear in the country, and to assert
for itself a place, which, in some of its forms, it has successfully
maintained ever since.
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