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    History of Literature Carvalhão Buescu - Rotated-1

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    synthesis of portuguese culture HISTORY OF LITERATURE Maria Leonor Carvalhao Buescu ‘This series of SYNTHESIS OF PORTUGUESE CULTURE ‘was at first published under the initiative of the Comisseriado para « EUROPALIA 91 — Portugal The plese priming wa ponte by the Comissdo Nacional para at Comemorarbes dos Descobrimentos Portuguese ‘and the Comisaniado de Portugal para a Exposigio Universal de Sevilha 92 EUROPALIA — PORTUGAL, IMPRENSA NACIONAL - CASA DA MOEDA. History of Literature 10 Linguistic basis 4 technical-historical anguage fom The problems of he Com Comey, we wil ok 3 he oe anne, an furan of the Heray cea fa si ning of the language permit. the Black Se he exPan- bya consctve phase in imposed on the autoche nthe Iberian Penn bin to sever er ta ss es wg am sin moc ay ta ec ng ee supa ees a scver, the Hi if each would ensure their spreac eeeiale lize Portuguese in South America, in eal we pe i hse he 1947, the erudite Stern identific fe ee al vy the Christian Soe ee ara ue eA sway, Between theo 30d Sone tent the conservat “Portuguese and also their autonomit red languages ee rt sbuvions of the Ibenan. Perinsula Lo] the ey ons shop tine te Some dence of the region ©). explains to 8 contain exe wren about this problem exp win ox en a eomevtat achat character ofthe Gali “ ty from the rest of the Hispanic tongues te, The Spanish Language, London, 1973, pp. 330-331 (our ©) Wiliam Enrwistle, The tration) Preliminary Questions u Meanwhile, the Galician-Portuguese linguistic unity found itself frag- mented, due to the advent 10 the Avis dynasty which delineated the borders of mainland Portugal at the end of the sav century. So Portu. gal was on the toad to a determined and determinating, historical journey while Galicia, north of the Minho river drifted into the orbit of the Casiian administration. The Catholic kings demanded that Cas Uillan be imposed as the official language in Galicia and this of course ‘meant that Galician went into decline, akhough itis still deeply rooted and stubbomly alive. The Galician-Portuguese unity would be broken, leaving, however, as a witness not only lyrical rpubadourism, which, as everyone knows, was brilliantly culated at the coun of Afon: so X, the Wise, King of Leon and Castile, but also long texts in prose which proves that Galician Portuguese was not just a mere poetic convention, but an instrument with expressive capacity. for several lterary-types and models Meanwhile, the romantic conscience is also becoming a factor of identity, and the ordinary, the vernacular, or, in sum, the familiar and quotidian language of discourse, developing and moving towards the ennoblement that Dante axiomatically proclaims for the Tuscany lan- guage: nobilior est culgaris (he ordinary language is more noble). Already considered as an excellent and credible instrument, apt for literary production, for legislative and administrative discourse, for the apologetical Christian and for theology, everything was moving to- ‘ards jusifying the diploma by King Dom Dinis, in May 1289. fol lowing which the documents issued by the royal ‘chancellery should be writen in Portuguese. Mlusirative, flexible and apt, the Portuguese Language at the end of the Middle Ages, under the airy quill of King Dom Duarte, in the lively and elastic style of the chronicler Femiio Lopes and in the ma. jestic and monumental discourse of Gomes Eanes de Azurara, reached the absolute maturity necessary for the adventure of modeanity And so we arive at the xt century — in which we can consider the Pomtuguese Language labourously polished and enriched by the fertile work of the Humanists — where suddenly we come fave to fa. ce with another realty which will give the history of the Portuguese Language a new dimension: in 1539, a Catechism of fist letters entitled A Grammar of the Portuguese Language is published in Lisbon, fol. lowed by summary of the Christian Doctrine, a Grammar and Dialo- gue on Pratse of our Language 1540). The author was Joao de Bar. TOs, One of the historians of the Oriental school. ‘The purpose of this History of literature work was to help educate the young PARES Dom Filipe, son of King Doi Joao II, but its wider objective ‘declared by the author in the preface — was to enable the teachin “of Portuguese to the peoples of preimely aiscovered tensions. With This specific objective in ind, ar eral hundred catechisms had been sent ‘Abyssinia and, in the pub- Terveading of the treaties established PEWS the King of Portugal and the Oriental princes, the respective PF vpauive tongue and, afterwards, in Pomupues® ‘the Pomuguese Language, respected in FUP and loved in fries and asia, which by arms and bs ‘wonderful and Joved in its own right that it belongs ( the monarchy of the se wove the tes oF the tan those who, IKE new apostles, preach and succeed. Language is, after all, an instrament Of missionary work and sirnul- taneously, bartering, and cultural interaction "The Portuguese will be, by tanetlence, interpreters t2ucu (in the Japanese language), accompanied by the Dutch, English and French in their transoceanic expeditions dur ing the xe and xv centuries tibecame the geeat spistual standard: eae that signalled the passt- ge of the Pomuguese, 0 the hao de Barros who saw the language © * cul ‘The Ponuguese arms and standards, spread throughout Afri ca and Asia, and on a thousand islands outside the three dive Sone of the Eamth, are materials that (ne will wear away. But it aro wear away doctrine, cuscoms and the language the Por vetoes tft behind in these lands. No Bony compare (0 that whe children of Euhiopia, Persia, India = Ibefore of beyond the inde, [1 learning our language anthest reaches of the Earth, And vet a8 ural vehicle, adds Ganges — in their own. Normalized, ennobled and adapted for the transcontinental adven= ture by tne catechism of the x cenury (Feri ide Oliveira, 1536; Joo wNe Banos, 1539-1540; Duarte Nunes de Mio, '1606), the Portuguese Lan= tguage moves into its conleMPOrITy ‘phase, and its history continues 10 n creativity and in permanency be made, Dialogue i Pras of Our Language, usar, GETELS Gatharde, 1540. (e. fac.‘ Linon, Faculty of Levers 1970) a "THE esr rena 1 Nope PORTRY OXI AND XIV CENTURY) Songs of Love and Songs of Friendship a cmt tp rs ng a cit cat ee ott erp a called love song finally reaches the li ee oe PLT a ee SCE coal ei dren mar recreation, and this is unders reeeaton, \derstood by the troubadour-king, Dom Dinis ves Rone ty a wed 1 sg ene i ove "But those that sing oni in ihe tne of flowe ing. and in no other, fi Perea have ot the passion that Tha wk eeeeO. ‘There was sothing unusual abo ee, ja about the fact that, subjacent recente st snd ene aie of thee songs onginating from Provence as parallelled by another form of aut i ten at ch coal on eventually superimpose ive on Provencal lyricism. This type of lyrical cor a 3s be ond of rend an is characterized by ing i (© Our paraphrasing . History of Literature feminine in type, that is, the song is attributed (0 and sung by the fil in love. Consequently, there is a sentimental transfer: the trouba- dour imagines what is being thought, what is being felt and what is fgoing on in the complex and sometimes capricious soul of the amo- rous youth. Tt is therefore inevitable that the troubadour possessed deep nd refined psychological penetration, so that he could really describe, atthe level of the feminine soul, the jealousy, the longing, the resent- tment, the triumph and the pride of being loved, the joy of the home- Coming oF the reconciliation, Almost narrative in form, and through their psychological realism, these songs refer to circumstancial epi ‘odes, creating an atmosphere that, sometimes, focuses on the conflict penween mother and daughter, of, on the contrary, the mother's help jn winning over her lover; the rivalry between the young gitls, oF, on the contrary, loyal and friendly confidences. However, it sometimes happens that neither the mother, nor the young sits friend, nor her sister listen to her amorous anxieties. Then the the misunderstood youth, separated from her love, tums t0 na- ture, and in unrestricted expansion, asks the waves, the mountain deer or the lonely pine trees about her absent love However, in direct contrast 10 what happens in the love song, that palatinism and courtesy had formally perfected and enriched but at the same time obliterated its colloquial spontaneousness, the song of friendship is everchanging and full of sentimental contradictions and unexpected situations “The principal repositories are the Anthology of the National Library, the Vatican Anthology and the Anthology of Ajuda, the only ‘one not apographic, and enriched with precious illuminations. “This poetry flourished in the voice of numerous woubsdours, ouch as Afonso X, King of Leon and Castile, Mendinho, Paio Soares de Taveiros, the King of Portugal, Dom Sancho 1, Airs Carpancho, King Dom Dinis, Joao Garcia de Guimade, Martim Codax (whose even songs of the Vindel Manuscript reproduce the musical not- tion), ete “The distinction between these variations the song of love and the song of friendsbip uplifted the poets’ conscience: they knew, when Composing, if they were composing a song of friendsbip or of love. But they opted for one of these variations and, even more, they had, fs we shull see, a reasonably clear notion of the different origins of these forms of poetic expression. Ie abo seems sign the posible vation, veryed bt fea -manner), this definition was (which is pure s) though frageremed ae Pure Poesy, although fragmented J siege ee ne Soar taa @ copy in the } tbe National Hoa and whose rection may date fom the mv ety I are a Yomale, © understand i it they cae simdentand if Be Tove or teniship, because Knowing tae i love of which they Female so spe in the fest verse, fis the i love oF friendship, depending on which o The information is, th Ss, therefo A love if they ibe woman) mon designation is the ‘song, It are distinguished by subject mai ter taseried fom the fur neering tt the og, easing th poi twas the mie roubadour tl us of them is mentioned first, enna Besides the characteriz ‘The Provencal reference and example in the song, me hive eee We cin -avant-la-lettre-, Fs thete is opposit vention of authentic and spo LT The First Lierary Models 5 definition Ned by toubadiur poeuy (genes nc CHAPTER ut Ant it is that in some songs they (male) speak, while in others th fis verse, an ic them man the ther ten as we have said before, and ea a Tk tom fir se, it is of friendship; and i i both speak in one Speaks fit in Hter or, in other oes F are *t words, from the voice me Sales Tease a pc a a \erefore a dialogue or tension, that obviously Of the dramatic type. In this case, the Art of discourse assumes, site th ation ofthe lyrical model, clear notion uf the occidental of one and the SeUn her gon ete’ cee on tome ee writen by Dom Dini, whose pasph eee ly say tha Wa In which the poet makes use of & scheme eheaae won of athena spots einen {i aether sn bythe same author ant 1 b the subject ofthe emincaton he tina hee eins 16 History of literature by declaring his option of doing a love song la Provena knows and declares that there is a Provencal way, and that now he is going to use it. This lexeme -now» indicates that another option exists and that, previously, he had already used another «manner: of ‘composing, The beginning of the song sends, therefore, a very clear message, on behalf of the poet, of his occidental Provencal origin, in this poetic mould, We should not forget the cultural formation and inheritance of Dom Dinis, which made him one of the most brilliant protagonists and his court one of the most brilliant centres of me Gieval Hispanic cultural. ‘Transcribing the elucidative synthesis of Elsa Gongalves () ‘The son of Afonso Il and of Beatriz of Castile brought 10- ‘gether, in his person and in a literary ambient of which he was the principle animator, the inheritance of three centres of civ lized court life (the courts of the North of France, of Leon and Castile and of Aragon) marked by the presence of troubadours ‘and their brilliant poetry. Because of this, it is no surprise that, ‘with the exception of King Sabio, his maternal grandfathes, Dom inis was the only one among all the Galician-Portuguese trou- badour to explicitly refer to the occidental models, exhibiting knowledge of them and declaring himself their imitator 1.1, praising their art and formulating judgement about the poetic ‘conventions that characterize the song In this song, which certainly reveals not only aesthetic-literary va ues, but also the contextual information contained therein, we can afterwards find a smanifest- or declaration of that which the poet un- Gerstands to be a love song a la Provengal: absolute praise to the maiden, absolute praise because absolutes are what they deserve in all their defined intentions right from the first stanza: in the area of physical beauty (comeliness), in the area of moral perfection (gene- fosity) and in the area of social dignity (honour). Their praise js also given without restrictions because she is elevated above ~all the others in the world, We can therefore identify as the thematic key of this song the idea of perfection which is defined through ©) Goncacs, Flsa; Rass, Masia Ana, Galician-Portuguese Iyricim, Comunicis30, Lisbon, 1983, p56. The First Literary Models v the counterpoint between the maiden (mlady) and -all the the coun iy) and call the others in However, Dom Dinis, as we have already said, also wrote -songs of friendship. And in these, if we analize them thoroughly, the de- agree of fictionalism is even greater, If it is fiction — or conven- tion — the amorous vassalage is expressed in the _ is expressed in the -songs of love (or in most of them), and in the songs of friendship, the -pretence- reaches the sujet of the enunciation. The poet asumes the tery of the ‘aber and expresses, in other language, the supposed sentiments of the friend, The toubadour then assumes personality which he fic- tionally constructs and elaborates. The difference beween the song of| love, in which the sentiment (with some detours, overtaking the Tigours of counesy and secrecy) is in a certain way, monochordic, adhe song of fendship i tht che Inter el of» vaiegated senti- mental universe, reflecting contradictory life-styles and, a i : y lifestyles and, apparently, re- alities, In fact, as is noted by Rodrigues Lapa, they are only appar- ently simple. The situational diversity of the song of friendship conta, ower, with the hierar immobism aed corey of the song of love; in the song of friendsh of friendship, on the contrary, the diveaior peoais eat knplie the

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