Passion Poetry in the Cancioneros
1985; Liverpool University Press; Volume: 62; Issue: 1 Linguagem: Espanhol
10.1080/1475382852000362065
ISSN1469-3550
Autores Tópico(s)Medieval Iberian Studies
ResumoClick to increase image sizeClick to decrease image sizeBSS Subject Index: CANCIONEROSRELIGION [AS LITERARY, CULTURAL & IDEOLOGICAL THEME]SPAIN — LITERATURE — GOLDEN AGE/16th–17th CENTURIES — POETRYSPAIN — LITERATURE — MEDIEVAL PERIOD — POETRY Notes 1. Keith Whinnom, La poesía amatoria de la época de los Reyes Católicos, Durham Modern Languages Series, Hispanic Monographs, 2 (Durham: Univ., 1981), 88. See also his Spanish Literary Historiography: Three Forms of Distortion (Exeter: Univ., 1968), and ‘Hacia una interpretación y apreciación de las canciones del Cancionero general de 1511’, Filología, XIII (1968–69) [1970], 361–81. 2. At present this is an area of considerable critical disagreement. José María Aguirre adopts a position essentially opposed to that of Whinnom. See, for example, his discussion of the paradox underlying cancionero verse: ‘Paradoja que consiste en reconocer el poder de la pasión y el de la razón, sin rendirse por completo a ninguno. El poeta cortesano es romántico y clásico a la vez. El fundamento de esta paradoja se encuentra en su adhesión, nunca puesta en duda, al cristianismo’, ‘Reflexiones para la construcción de un modelo de la poesía castellana del amor cortés’, RF, XCIII (1981), 55–81, at pp. 58-59. Patrick Gallagher attempts something of a compromise in his edition of the work of Garci Sánchez de Badajoz and refers to the ‘accommodation’ of religious material: The Life and Works of Garci Sánchez de Badajoz (London: Tamesis, 1968), 175. See also the review-article by Nicholas G. Round, ‘Garci Sánchez de Badajoz and the Revaluation of Cancionero Poetry’, FMLS, VI (1970), 178–87. 3. BHS, LXII (1985) 51–63. 4. Erich Auerbach, ‘Gloria Passionis’, in his Literary Language and Its Public in Late Latin Antiquity and in the Middle Ages, trans. Ralph Manheim (London: Routledge and Kegan Paul, 1965), 67–81, at p. 81. 5. Andreas Capellanus, De amore libri tres, with fourteenth-century Catalan trans., ed. Amadeu Pagés, (Castelló de la Plana: Sociedad Castellonense de Cultura, 1930), 2–3. Andreas Capellanus, The Art of Courtly Love, trans. J. J. Parry (New York: Columbia.U.P., 1941), 28. The most recent English translation of the work is no more helpful here. See Andreas Capellanus on Love, ed. with an English trans. by P.G. Walsh (London: Duckworth, 1982), 33, where the phrase is translated as ‘Love is an inborn suffering’. 6. Rafael William Ramírez de Arellano y Lynch, ‘Cancionero castellano del siglo XV. The Cancionero de Vindel, MS B2280 in the Library of the Hispanic Society of America, New York: Critical Edition and Text’, (Unpublished Ph.D. dissertation, Princeton Univ., 1970), p. 488, composition number 47, St. 3. Dutton 2369, ‘Lícito es practicar’. The Dutton number, given for all cancionero poems referred to here, is that established by Brian Dutton in his Catálogo-índice de la poesía cancioneril del siglo XV (Madison: Hispanic Seminary of Medieval Studies, 1982). 7. Cancionero de Estúñiga: edición paleográfica, ed. Manuel and Elena Alvar (Zaragoza: CSIC, 1981), 61, no. 6. Dutton 0016, ‘Llorad mis llantos llorad’. 8. Diego de San Pedro, Obras completas, III. Poesías, ed. Dorothy S. Severin and Keith Whinnom (Madrid: Castalia, 1979), 249. The poem is found on f. 114v of the Cancionero general of 1511. See Antonio Rodriguez-Moñino, ed., Cancionero general, recopilado por Hernando del Castillo (Valencia, 1511), facsimile (Madrid: RAE, 1958). Dutton 6185, ‘Cuando, señora entre nos’. The interpretation of the last four lines of the poem is suggested on p. 249, notes 361 and 362, of the Severin and Whinnom edition. 9. Spanish Ballads, ed. C. C. Smith (Oxford: Pergamon, 1964), 146. 10. Estúñiga, ed. Alvar, 201. Dutton 0582, ‘Mi bien y toda mi vida’. The emendation in line 26 is mine. 11. Francesco Petrarca, Rime, trionfi e poesie latine, ed. F. Neri et al. (Milan: Ricciardi, 1951), 5. A footnote to the poem reads: ‘Era il giorno della Passione di Cristo; il 6 aprile 1327 (CCXI, 12–13), attenendosi il P., non alla data mobile del venerdì santo, ma a quella stabilita per il giorno stesso della morte di Cristo, cioè alla "feria sexta aprilis" che cadde in quell'anno di lunedì (tale questione fu ben chiarita dal Calcaterra)’. 12. Cancionero de Roma, ed. M. Canal Gómez (Florence: Sansoni, 1935), vol. II, 146, ‘La buena memoria del rey don Fernando’, st., 9. Dutton 0155. 13. Obras completas de Juan Alvarez Gato, ed. Jenaro Artiles Rodríguez (Madrid: Compañía Ibero-Americana de Publicaciones, 1928), 9. Dutton 6179, ‘Gran belleza poderosa’. For biographical and literary background see Francisco Márquez Villanueva, Investigaciones sobre Juan Alvarez Gato: contribución al conocimiento de la literatura castellana del siglo XV, BRAE, anejo 4 (Madrid: RAE, 1960, repr. with addenda 1974). Of particular interest here are the sections where Márquez Villanueva draws attention to the biblical echoes in the poet's work (167–79) and to the development of his spiritual life (276–82). 14. Eithne Wilkins, The Rose-Garden Game. The Symbolic Background to the European Prayer Beads (London: Gollancz, 1969). 15. Fernando de Rojas, La Celestina. Tragicomedia de Calisto y Melibea, ed. Dorothy S. Severin (Madrid: Alianza, 1969), 97. See also the two articles by Alan Deyermond: ‘Hilado-cordón-cadena: Symbolic Equivalence in La Celestina’, Celestinesca, I, no. 1 (May 1977), 6–12; and ‘Symbolic Equivalence in La Celestina: A Postscript’, Celestinesca, II, no. 1 (May 1978), 25–30. 16. Obras completas de Juan Alvarez Gato, 49. Dutton 3098, ‘Pues hoy predican doncella’. 17. Registro general del sello, ed. Gonzalo Ortiz de Montalván, 2nd ed. by María Asunción de Mendoza Lasalle (Valladolid: CSIC, 1961). 18. Diego de San Pedro, Obras, III, 250. Dutton 6186, ‘Nuestro Dios en este dia’. 19. Montague Rhodes James, The Apocryphal New Testament (Oxford: Clarendon, 1924), 134–36. 20. Diego de San Pedro, Obras, III, 250. Dutton 6187, ‘Una maravilla vi’. 21. Estúñiga, ed. Alvar, 132, no. 29. Dutton 0017, ‘Solo por ver a Macias’. 22. Estúñiga, ed. Alvar, 263, no. 139. See also Carvajal, Poesie, ed. Emma Scoles (Rome: Ateneo, 1967), 179. Dutton 0642, ‘Paciencia mi corazón’. 23. Eleanor S. O'Kane, Refranes y frases proverbiales españolas de la Edad Media, BRAE, anejo 2 (Madrid: RAE, 1959), 184. 24. El cancionero de Palacio (Manuscrito no. 594), ed. Francisca Vendrell de Millás (Barcelona: CSIC, 1945), 312, no. 247. Dutton 0195, ‘Pues me fallecio ventura’. The Gospel references for Jesus's cry of ‘Eli, Eli …’ are Matthew 27: 46 and Mark 15: 34. 25. Palacio, ed. Vendrell, 245, no. 140. Dutton 2530, ‘Amor mi triste partida’. 26. Cancionero general, ed. Rodríguez-Moñino, f. 144r. Dutton 4157, ‘Sola sois vos quien podeis’. 27. There have been suggestions by some scholars that the line Transeat a me calix iste could be given an obscene interpretation, but none of this discussion has yet been published. For an introduction to the problems presented by the phrase see Whinnom, La poesía amatoria …, 59–61. E. Michael Gerli mentions this poem and ‘Pues me fallecio ventura’ in ‘La "religión del amor" y el antifeminismo en las letras castellanas del siglo XV, HR, XLIX (1981), 65–86. He does not comment on them at any length but he does include them as examples of the use of religious elements in love poetry. 28. Bruce W. Wardropper, ‘El mundo sentimental de la Cárcel de Amor’, RFE, XXXVII (1953), 168–93, at p. 176. 29. Cancionero general, Rodríguez-Moñino, f. 88v. Dutton 6126, ‘Don Jeronimo perdido’. 30. Hugo Albert Rennert, ‘Der spanische Cancionero des British Museum. (Mss. Add. 10431)’, RF, X (1895), 1–176, at p. 129. See also: Ian Macpherson, The Manueline Succession: the Poetry of Don Juan Manuel II and Dom João Manuel, Exeter Hispanic Texts, 24 (Exeter: Univ., 1979), 6. Dutton 1106, ‘El menor mal muestra el gesto’. 31. Cancionero general, Rodríguez-Moñino, f. 65v. Dutton 1123, ‘Esta merced cerradura’. 32. Eloy Benito Ruano, ‘Lope de Stúñiga, vida y cancionero’, RFE, LI (1968), 17–109, at p. 82. 33. Rennert, Add. 10431, p. 136. Dutton 1131, ‘Señora pues se muda’. 34. The English Religious Lyric in the Middle Ages (Oxford: Clarendon, 1968), 234. 35. British Library, MS Egerton 939, ff. 27r–30v. Dutton 2754–61. 36. For discussion of some aspects of such poems see Keith Whinnom's articles: ‘El origen de las comparaciones religiosas del Siglo de Oro: Mendoza, Montesino y Román’, RFE, XLVI (1963), 263–85; ‘The Supposed Sources of Inspiration of Fifteenth-Century Narrative Religious Verse’, Symposium, XVII (1963), 268–91. 37. Diego de San Pedro, Obras, III, 103. 38. Themes and Images in the Medieval English Religious Lyric (London: Routledge and Kegan Paul, 1972), 122. 39. Poetry of the Passion: Studies in Twelve Centuries of English Verse (Oxford: Clarendon, 1982). 40. For discussion of Spanish contrafacta see Bruce W. Wardropper, Historia de la poesía lírica a lo divino en la Cristiandad occidental (Madrid: Revista de Occidente, 1958), and John Crosbie's articles: ‘Amoral "a lo divino" Poetry in the Golden Age’, MLR, LXIX (1971), 599–607; ‘Medieval Contrafacta: a Spanish Anomaly Reconsidered’, MLR, LXXVIII (1983), 61–67. 41. Dámaso Alonso, La poesía de San Juan de la Cruz (Madrid: Aguilar, 1946), 308. 42. ‘The Literary and Devotional Context of the Pastorcico’, FMLS, XVIII (1982), 363–70. 43. I am grateful to Dr John Edwards, Dr Terence O'Reilly and Mrs Jane Whetnall for a number of helpful suggestions, and especially to Professor Alan Deyermond for reading and commenting on drafts of this article. Preliminary versions were read as papers to the Cambridge University Hispanic Research Seminar and to the Medieval Spanish Research Seminar at Westfield College, and I gratefully take into account the discussion on those occasions.
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