Early Castilian Literature: Epic, Lyric, and Poetic Traditions

Primitive Castilian Lyric

Primitive Castilian lyric forms, conserved in Spain, serve not just as testimony to the first written lyrical compositions of our language. It was thought that popular lyric flourished in Castile. It was not possible to find samples of this poetry until Gonzalo de Berceo in the late fifteenth century. Menéndez Pidal defended the existence of a primitive Castilian popular lyric that was transmitted orally until the fifteenth century, characterized by indigenous styles.

The Villancicos and Other Forms

The Villancicos are a primitive vernacular lyric, used to be sung at parties. Their characteristics include:

• Anonymous: Unknown authorship.
• Popular: Aimed at a broad audience.
• Traditional: Minstrels played a role in their dissemination.

Other Castilian lyrical forms include:

• Mayas: May songs.
• Albadas: Songs of lovers lamenting the night's end.
• Alboradas: Songs of joy at dawn's arrival.
• Songs of Labor: Sung during agricultural work.

Lyric in the 12th and 14th Centuries

In the 12th and 14th centuries, anonymity was gradually abandoned in lyric poetry. Popular lyric was characterized by anonymity and oral diffusion, while literate lyric was written, with known authorship. This was associated with transmission by:

• Minstrel (Juglar): A performer who entertained and spread traditional poetry and epic tales in verse to the people.
• Clergyman (Clérigo): An educated religious person who knew Latin and promoted literacy.

Two main poetic traditions developed:

Mester de Clerecía

The Mester de Clerecía emerged in the 13th century in monasteries. Its function was to teach and transmit culture, so literature took on a didactic and moral significance. Its most prominent exponent is Gonzalo de Berceo. Its meter is the cuaderna vía, using 14-syllable Alexandrine verses, divided into two hemistichs by a caesura. Its purpose was to create a variety of poems, often teaching religious subjects. Features include: more refined language, knowledge of classical antiquity, and frequent use of allegory.

Mester de Juglaría

The Mester de Juglaría's mission was to recite and dramatize. Juglares toured towns and castles to entertain people, reciting their lines by heart. These performers sang, danced, and recited lyrical poems, including their own works and popular tales.

Chanson de Geste

The Chanson de Geste refers to epic poems written in verse, often in Romance languages. Its goal was to recount historical or legendary events.

Evolution of Epic Poetry

This evolution includes:

• Romances: Epic narratives in poetic form.
• Historical Prose: A main source for medieval texts.
• Libros de Caballerías: Appeared in the Late Middle Ages.

Gonzalo de Berceo

Gonzalo de Berceo was the first Castilian poet known by name. His works include lives of saints, not heroic epics. His doctrinal works are sometimes considered of lower literary quality. His most famous work is Milagros de Nuestra Señora (Miracles of Our Lady). He adapted his art to the level of the common people, striving for clarity and understanding.

Main Features of Castilian Epic Poetry

• Realism: Castilian epic is rooted in historical events.
• Traditionalism: Themes are drawn from popular tradition, romances, and chronicles.
• Meter: Irregular verses (anisyllabic), monorhyme, divided into two hemistichs by a caesura.
• Assonance: Repeated vowel assonance, not strict rhyme.
• Epithets: Frequent use of epic epithets to draw attention.

The Romancero

The Romancero is a collection of romances. Its origin lies in epic poems. Its structure consists of long lines, divided into two octosyllabic hemistichs by a caesura, with assonance in even-numbered lines. Features include:

• Intense emotion.
• Sudden and rapid beginning.
• Frequent dialogue.
• Detailed descriptions and fast-paced narrative.

Stylistic Resources:

• Verbs and adverbs to introduce characters.
• Apostrophes to address people.
• Exclamations for emphasis.
• Repetition of words.

Cantar de Mio Cid

The Cantar de Mio Cid is the oldest preserved Castilian epic poem. It consists of 74 folios and 3,730 verses, published in 1779, with 3 pages missing. It recounts the exploits of Rodrigo Díaz de Vivar, focusing on his exile and subsequent years. The poem blends historical events with legendary elements.

Main themes:

• Recovery of lost honor.
• The unjust beating and abandonment of his daughters.
• The desire for power and prestige.
• The pursuit of justice.

It is divided into 3 parts (cantares). The author is unknown, though two theories suggest Per Abbat (scribe) or a collaboration of poets (e.g., from San Esteban de Gormaz and Medinaceli).

Characteristics:

• Verses range from 10 to 20 syllables (anisyllabic).
• Grouped into two hemistichs.
• Assonance (not strict rhyme).

Characters:

• The Cid and his loyal men.
• Enemies like Count Ordóñez and the King (initially).
• The Infantes de Carrión.

Social Classes and Literary Reception

• Clergy: Held a theocentric worldview, were literate, served as copyists, and were preservers of knowledge.
• Nobility: Their literary tastes evolved; initially, they might have found popular forms less sophisticated, but later appreciated the jarchas and other lyrical forms as their understanding of poetic structure changed. They valued the content and the way it was expressed.