and which also possesses a great number of songs by unknown authors, produced within the same period, may well boast of its lyric genius; and the literary historian, before he proceeds to a closer review of this collection, may reasonably expect to find in it a full and true representation of the national character. Thus the old Spanish Cancionero is even more interesting to the philosophic observer of human nature than to the critic.
The Spiritual Songs, (Obras de Devocion,) at the head of the collection, probably will not fulfil the expectations which may be formed respecting them. It is natural to presume that in a nation so poetically inclined, and in an age when, for the most part, nature was followed without reference to the rules of art, the poets could not fail to view Christianity on its poetic side. But the scholastic forms of the existing theology crushed the genius of poetry; and the unpoetic side of Christianity, because it was the most learned, was alone deemed worthy the strains of the Spanish poets of the fifteenth century. They likewise seldom ventured to give scope to the fancy in devotional verses, because the nation was accustomed to the most implicit faith in every dogma of the church, and the recognition of the sacredness of literal interpretation was identified with orthodoxy, long before the terrors of the inquisition and its burning piles were known. This rigid orthodoxy of the Spanish Christians was a consequence of their war of five hundred years duration with the Moors. Throughout that long period the Spanish knight invariably fought for religion and his country; and from the constant hostility that prevailed between the Christian and Mahometan faiths, the Spanish Christians were wont to make a parade of their creed, as the Christians of the east are accustomed to do at the present day. Hence the strictest formality was observed in all matters connected with religion; and great as was the enthusiasm of the Spaniards in the fifteenth century, it produced few, if any, lyric compositions, containing more poetry than a common hymn. Whether reference be made to the Twenty Perfections of the Holy Virgin,105 (Obra en loor de veinte excellencias de nuestra Señora), by Juan Tulante, who is the author of most of the spiritual songs in the Cancionero general; to the play on the five letters of the name Maria,106 by the Visconde de Altamira; or to Fernan Perez de Guzman’s versions of the Ave Maria and Paternoster,107 which could not have been more dryly and formally written in prose; we find in all the same monotony without any poetic adaptation of the materials.
The moral poems of this collection do not weigh heavier in the scale of poetic merit. The art which the ancients possessed of introducing moral ideas into the region of poetry, was not attainable by the pupils of the monastic schools. They allegorized either virtues or vices according to the catalogue and definitions of the scholastic philosophy; or they made common place observations on human life, sometimes with declamatory pomp, sometimes with real warmth of feeling, and occasionally in agreeable verse, though destitute of any poetic spirit. Gomez Manrique with commendable frankness addressed a didactic poem on the Duties of Sovereigns (Regimiento de Principes) in redondillas, to Queen Isabella and her husband Ferdinand of Arragon; but however valuable the truths which he wished to impart to the royal pair, he could only express them in versified prose.108 The moral coplas of his nephew Jorge Manrique present somewhat stronger claims to poetic merit; they were subsequently glossed as a National Book of Devotion, and were held in high estimation up to a recent period.109 In the moral as well as in the spiritual songs the character of the nation is manifest. With equal warmth of feeling, with the same disposition for light and sportive gaiety, the Spaniards were invariably distinguished from the Italians by moral gravity. Hence, they have in all times set a high value on rules of conduct, sentences, and useful proverbs, and have never regarded the principles of genuine rectitude as less important than maxims of worldly wisdom.
But love songs form by far the principal part of the contents of the old Spanish Cancioneros. To read them regularly through, would require a strong passion for compositions of this class, for the monotony of the authors is interminable. To extend and spin out a theme as long as possible, though only to seize a new modification of the old ideas or phrases, was, in their opinion, essential to the truth and sincerity of their poetic effusions of the heart. That loquacity which is an hereditary fault of the Italian Canzone, must also be endured in perusing the amatory flights of the Spanish redondillas, while in them the Italian correctness of expression would be looked for in vain. From the desire perhaps of relieving their monotony, by some sort of variety the authors have indulged in even more witticisms and plays of words than the Italians, but they also sought to infuse a more emphatic spirit into their compositions than the latter.110 The Spanish poems of this class, exhibit, in general, all the poverty of the compositions of the Troubadours, but blend with the simplicity of these bards, the pomp of the Spanish national style in its utmost vigour. This resemblance to the Troubadour songs was not however produced by imitation; it arose out of the spirit of romantic love, which at that period, and for several preceding centuries, gave to the south of Europe the same feelings and taste. Since the age of Petrarch, this spirit had appeared in classical perfection in Italy. But the Spanish amatory poets of the fifteenth century had not reached an equal degree of cultivation; and the whole turn of their ideas required rather a passionate than a tender expression. The sighs of the languishing Italians became cries in Spain. Glowing passion, despair and violent ecstacy, were the soul of the Spanish love songs. The continually recurring picture of the contest between reason and passion is a peculiar characteristic of these songs. The Italian poets did not place so much importance on the triumph of reason. The rigidly moral Spaniard was, however, anxious to be wise even in the midst of his folly. But this obtrusion of wisdom in its improper place, frequently gives an unpoetic harshness to the lyric poetry of Spain, in spite of all the softness of its melody. It would be no unprofitable or useless task to pursue this comparison still further. But the limited extent of this work can afford space for only a few notices and examples.
How successful the Spanish poets of the fifteenth century were in gay and graceful love songs, when guided only by their own feelings, is manifest from some of the compositions of Juan de Mena; but the charm vanishes the instant the poet begins to display his skill and erudition.111 In a love song by Diego Lopez de Haro, reason and the mind enter into a prolix conversation on the value to be attached to affections of the heart; and the thinking faculty admits reason at the expense of poetry.112 In the other songs of the same author, in which the mind obeys only the heart, he is poetic in all the simplicity of passion, though in search of wit he sometimes involves himself in obscure subtilties.113 The fire of passion is excellently painted, even amidst sports of wit,114 in several songs by Alonzo de Cartagena, afterwards archbishop of Burgos; and it seems to rage incessantly in the love songs of Guivara, to one of which he has given the emphatic title of El Infierno de Amores; or, The Hell of Love.115 Sanchez de Badajoz, when, like a despairing lover, he wrote his will in poetry, thought he might avail himself of some passages from the book of Job to express his suffering. He divided this strange kind of will into nine lessons, (leciones). The ideas are very extravagant, but the execution is vigorous, and in many parts not unpoetic.116 It might be presumed that profane applications of the doctrines and language of the bible would have given offence to the Spanish public, or at least alarmed the guardians of catholic orthodoxy. But such was not the case. Rodriguez del Padron chose the Seven Joys of Love as the subject of one of his songs, the title of which calls to mind the Marquis of Santillana’s Joys of the Holy Virgin; he also versified Love’s Ten Commandments, (Los diez Madamientos de Amor.)
The other kinds of lyric poems, for example, the laudatory poems, which are dispersed through the Cancionero general, are not distinguished by any peculiar features; but the poems under miscellaneous titles in this collection deserve particular attention. They exhibit the natural style, amalgamated with a conventional, and thus form the model of a species of national poetry, which has descended to the present age. Certain short lyric poems, usually called songs, (canciones,) in the more strict sense of the term are distinguished by a peculiar character and a decided metrical form. They have always a sententious or an epigramatic turn. The number of lines is generally twelve, which are divided into two parts. The first four lines comprehend the idea on which the song is founded. And this idea is developed or applied in the eight following lines. The Cancionero general contains one hundred and fifty-six of these little songs, some of which are the best poems in the whole book. For this advantage they are probably indebted to their conventional form, which confined the romantic verbosity within narrow bounds. These little songs were to the Spaniards