: Barbara Mujica
: Iberian Pastoral Characters
: Digitalia
: 9780916379179
: 1
: CHF 47.90
:
: Kunst, Literatur
: English
: 272
: DRM
: PC/MAC/eReader/Tablet
: PDF

An in-depth study of the Spanish pastoral romance from its Italian and Portuguese precedents through its demise in the early sixteenth century. Dr. Mujica examines the process of maturation in the art of character development that contributes to the transformation of the genre from simple romance to a form that more closely resembles the modern novel. Dr. Mujica demonstrates that Spanish pastoral characters evolve from the allegorical to the concrete, from the decorative to the substantive, as the role of free will increases in the genre. 

“[This book] constitutes a successful revaluation of the pastoral that leads to its greater appreciation.”-Anthony J. Cárdenas, Hispania. 

“Mujica aporta un filón de estudios que conviene tener en cuenta para conocer mejor la compleja literatura española de los Siglos de Oro y romper clichés seculares.”-Francisco López Estrada,Ínsula. < r />
“Mujica's analyses are interesting and useful.”-John A. Jones, Bulletin of Hispanic Studies. 

“Mujica mantiene su análisis en un equilibrio laudable.”-Pilar Fernández-Cañad s Greenwood, Cuadernos de ALDEEU.
Chapter I The Italian Precedent: Jacopo Sannazaro`s Arcadia (p. 11)

Jacopo Sannazaro was the initiator of the pastoral idyll in prose and verse not only in his native Italy, but also in the rest of Europe. The earliest pastoral romance to appear in Spain was a translation from the Italian. Spanish editions of Sannazaro`s Arcadia appeared in Toledo in 1547 and 1549, and later translations appeared in Madrid and Salamanca. With the publication of these early translations, a new type of romance was introduced on the Iberian Peninsula.

Of course, there had long existed a pastoral current in Spanish poetry and didactic prose. The encounter between knight and shepherdess was the theme of the light-spirited Provencal pastourelles, and later, of the Galician-Portuguese pastorelas of the twelfth and thirteenth centuries.

Medieval morality plays as well as Nativity and Easter dramas contained pastoral elements, and, by the end of the fifteenth century, independent pastoral plays, both secular and religious, were being performed.

Early fifteenth-century playwrights, such as Juan del Encina, Lucas Fernandez, and Gil Vicente, wrote dramatic eclogues and pastoral autos. In addition, several novels of chivalry incorporated pastoral episodes.

But it was Sannazaro`s Arcadia that provided the principal model for the new Spanish literary genre, even though, As Rogelio Reyes Cano has pointed out, in Spain the pastoral romance took on a character all its own.

The date of composition of Sannazaro`s Arcadia is not altogether clear. Current scholarship holds that the poet was born in 1456.2 As a young man, he spent some time at a country retreat near Salerno, and it is possible that during this period he wrote several of the eclogues he later incorporated into the romance.

Ralph Nash argues that there is little convincing evidence that the work was written prior to 1482, the year that the poet returned to Naples, although it is possible that Arcadia began as a few independent eclogues that Sannazaro later wove together with prose passages once back in the metropolis.

A draft of Arcadia through Eclogue X bears the date 1489, but the romance remained unpublished until 1502, when an unauthorized text appeared while Sannazaro was in voluntary exile in France with King Frederick. In 1504, upon the king`s death and the poet`s return to his homeland, a complete text, including Eclogues XI and XII, their accompanying prose, and an epilogue, were published.

Sannazaro`s pastoral romance was an immediate success, not only in Italy, but also abroad. The Neopolitan poet exerted an immeasurable influence on Spanish letters for more than a century, and, although the Spanish pastoral evolved along its own particular lines, Sannazaro`s Arcadia was the starting point, or, as Amadeu Sole-Leris has put it,"the crystallizing factor" that consecrated the bucolic ideal and popularized the pastoral theme.

Remarkably—from a modern perspective —the popularity of Arcadia was a source of displeasure to the poet, who distrusted the judgment of the masses and strove to establish his worth through his less universally accessible Latin verse .

Sannazaro was not particularly concerned with characterization. For one thing, he did not conceive of Arcadia in terms of characters or narrative, but, most probably, wrote the eclogues first and merely joined them together with prose interludes.
Table of Contents6
Preface8
Introduction12
I. The Italian Precedent: Jacopo Sannazaro's Arcadia22
II. Vague Beginnings: Bernardim Ribeiro's Menina e moça54
III. Allegory and the Neoplatonic Ideal: Jorge de Montemayor's Siete libros de la Diana122
IV. Didactic Pastoral: Gaspar Gil Polo's Diana enamorada154
V. Cervantes' Blood-Spattered Arcadia: La Galatea182
VI. Lope de Vega's Arcadia: A Step Toward the Modern Novel222
VII. The Decline of a Genre: Gabriel de Corral's Cintia de Aranjuez260
Conclusion270