Juan Ruiz's Book of Good Love: Fourteenth-Century Clergy Masterpiece

The Master of Clergy of the Fourteenth Century

The Book of Good Love, by Juan Ruiz, Archpriest of Hita, represents the most important production of Mester de Clerecía in the fourteenth century. It breaks the uniformity of the established verse form, which is frequently replaced by other verses of all kinds.

The Intention of Juan Ruiz, Archpriest of Hita

Only vague indications exist regarding the actual life of Juan Ruiz, Archpriest of Hita. It would not be surprising if the author concealed his identity and that the archpriest was merely the fictional protagonist of the book. The first problem with the Book of Good Love is its ambiguity. Worldly love, which seeks pleasure, contrasts with divine love, which is only God. One might therefore believe the moral and didactic purpose of the archpriest, since most of the protagonist's affairs end unsatisfactorily for him. It can be understood that the Book of Good Love exists more as an invitation to enjoy the pleasures of love than as a didactic treatise. It seems rather that the archpriest constructs a parody that aims to entertain and make his audience laugh. Possibly, Juan Ruiz represents the social group of bourgeois traders who are interested in reality as it is: human behavior and earthly pleasures, although they remain religious. Chances are that they embody the medieval religiosity and vitalism of the bourgeoisie.

Structure and Style of the Book of Good Love

Its features are originality and variety. The storyline, which is sometimes difficult to follow, is a fictional loving autobiography. The components that make up the Book of Good Love are very different:

• The Protagonist's Love Affairs: After his earlier failures, the archpriest himself receives advice from Don Amor. Don Amor advises him to choose the woman he loves and to seek the help of any intermediary. Romantic encounters and adventures continue in the mountains, where he encounters four strong, ugly women. At the end of the book, he falls in love with the nun Goroza, but she dies, and the archpriest consoles himself by pretending to a fine.
• An Imitation of an Anonymous Twelfth-Century Comedy, The Pamphilus: The protagonist, Don Melón de la Huerta, falls for the young widow Doña Endrina and obtains her love through deception. Juan Ruiz changes the names of the original and introduces a new character, Trotaconventos, the bawd who assists him.
• The Allegorical Battle Between Don Carnal and Doña Cuaresma: Don Carnal, along with partridges, piglets, and other delicacies, fights bravely against Doña Lent, who is surrounded by fish of all kinds. The fight represents the efforts of the church to impose restraint and fasting, an endeavor that only succeeds during the days of Lent. When this period finishes, Don Carnal's indulgence dominates the world again.