Masterpieces of 15th Century Spanish Literature

Courtly Poetry and Songs

Composed to be read, recited, or sung at court, courtly poetry was a common feature of the 15th century. Its characteristics include:

• Great variety of verses and themes:
  • Troubadour songs (love theme)
  • Political-philosophical or religious moral sayings
  • Scattered, brief, ingenious thoughts
  • Glosses
  • Dialogued poems (philosophical, scientific, and moral theology)
• Language play: Contrived words and their meanings.
• Metric: Castilian versos de arte mayor.
• Notable song collections: Cancionero de Baena, Cancionero de Estúñiga, Cancionero General, Cancionero de Palacio.

Critical and Satirical Poetry

This genre includes the Castilian version of the Dance of Death (early 15th century), where Death calls various characters (including the Pope and Emperor), emphasizing that all are equal before death. Another significant work is the Coplas de Mingo Revulgo, known for its anti-nobility and ironic sense.

Jorge Manrique's Coplas

Jorge Manrique's poetic output includes love poetry (short pieces) and mock-poetic compositions with repetitive themes and vocabulary. However, his most significant contribution, responding to the flourishing moral poetry of the 15th century, is the 40 Coplas por la muerte de su padre.

Key Themes of the Coplas

These Coplas exhibit features of both medieval and Renaissance poetry. Key themes include:

• Death as a character
• Fame
• Memory
• Echoes of classical topoi: Vanitas vanitatum, Ubi sunt, Tempus fugit, Planto.

Structure of the Coplas

The Coplas are typically divided into three sections: Stanzas 1-13, 14-24, and 25-40.

Style of the Coplas

Characterized by:

• Coplas de pie quebrado (broken-foot stanzas)
• Exquisite and sober, yet calm, tone
• Use of synonyms and rhetorical devices
• Oscillation between traditional and innovative elements
• Explanatory adjectives and imperative forms

La Celestina: Author, Edition, and Analysis

Prologue and Edition

Prologue: In the form of a letter from the author to a friend, explaining an encounter in Salamanca where he reasoned about the evils of love, which inspired him to continue the work.

Edition: Features acrostic verses by Alonso de Proaza, who also served as the text corrector.

Structure of La Celestina

• Act 1: Introduction of the action.
• Acts 2-12: Development of conflicts.
• Acts 13-20: Passionate relationship between Calisto and Melibea.
• Act 21: Pleberio's lament.

Style and Language Use in La Celestina

Noted for its richness of language and alternation between cultured and popular speech. This is evident in the dialogues of Calisto and Melibea compared to those of Celestina and the servants.

• Dialogue: Facilitates character argumentation for each person and establishes cause-and-effect relationships.
• Monologue: Reveals characters' fears and thought processes.
• Asides: The author indirectly addresses the reader or audience, often creating comic situations.

Themes in La Celestina

• Carnal Love: Pleasure often gives way to death (e.g., Celestina's murder).
• Transience of Life: A pervasive theme, reflecting a pessimistic view of life's fleeting nature.