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Ami Swan. A short summary of this paper. PDF Pack. People also downloaded what is a traditional love poem PDFs. People also downloaded these free PDFs. Medieval Oral Literature Edited by by lucilla spetia. Teaching World Literature by Ursula Heise. Download Download PDF. Translate PDF. We intend to show in our paper, mainly by inference, that these poems are indeed very skilful creations. In order to do so we will argue that the "serranillas", as compositions dealing with some kind of amatory adventure, belong, in the context of medieval Spanish poetry, to a genre of their own, half-way between the so-called "poesia de us tradicional TM and courtly love poetry.
Before examining our main arguments we wish traditiobal establish a few general points. We postulate the existence of two types of love lyric in fifteenth- century Castille: one, " d e poeem tradicional", explain the relationship between predator and prey populations form of poetry infused with emotion and natural sentiment appertaining to loce realm of the country; another, " p o e m a cancioneril", appertaining to loge court.
The landscape of the former, at least that of those poems whose symbo- lic element is prevalent, 2 relates neither to the l o c u s a m o e n u s topos nor to the Renaissance pastoral convention. Pastoral nature is the ideal setting for the amorous dalliance. According to J. Huizinga it was the longing for natural love which gave rise to the pastoral genre: " W e a r y of factitious conceptions of love, the aristocracy sought a remedy for them in the pastoral ideal. Facile and innocent love amid the delights of nature seemed to be the what is a traditional love poem of country people, theirs to be the truly enviable form of happiness.
It is because the aristocracy held such idealized views implying the failure of seduction, and had such scant regard for the "serrana-villana", 4 that the courtier may become a " D o n Juan de aldea" and at times the "victim" willing as often as not of the country girls' lack of sexual inhibition. Nelli confirms this: "De leur c0tt, les 'bonnes dames'. Swan, M. Aguirre - Santillana' s "Serranillas" leur temps au what is a traditional love poem subtil de ces dames, This intrusion is not new by any means; it is already to be found in many what is a traditional love poem "de js tradicional", where it is seen from the country girls' point of view.
Indeed many of the thematic characteristics of popular poetry owe their existence to the courtly love conventions. One clear example of this is the motif of the "morena". The following verse what is a traditional love poem prove the point: Morenica m'era yo: dicen the kind of love quotes, sl, dicen que no.
Unos que bien me quieten dicen que sl; otros que p o r m i mueren dicen que no. There are, however, popular poems which show how the actual meeting of these personae leads almost inevi- tably to an unhappy situation. These poems point very clearly to the fundamental social differences between the country girl and the courtier: Enemiga le soy, madre, a aquel caballero yo; mal enemiga le s6. Aguirre - Santillana' s "Serranillas" Yet the sad tone of these poems does not suggest that such encounters are not desired by the country girl.
The continuation of the second poem quoted shows quite the x and emphasizes the girl's willingness: Mafianairr, conde, a lavar al rio; alli me tenris, conde, a vuestro servicio. In "pure" traditional poetry love is part of nature, it is almost nature itself, but in the above poems there are moral and social implications which emphasize further the influence of the court upon the country. Much has already been written on courtly-love poetry and its convent- ions.
Generally speaking, the courtly-love poem is built trxditional on abstractions; it is rarely set within the concretion of any type of landscape. It is therefore an anti-country model; for the courtier, the country girl is inferior and consequently unworthy of his love. Courtly-love conventions belong, whether in a heretical, sinful way or not, to the sphere of Christian morality ;8just as what is a traditional love poem traditional compositions are influenced by courtly structures, so too courtly poetry may contain elements taken from popular lyric poetry.
The action of this poem, not surprisingly, takes place in a vaguely idealized landscape. When faced with the realities of the country, the courtly poet can adopt two different attitudes: he can idealize his experience, thus becoming a pastoral poet, or he can divest himself temporarily of his courtly beliefs and approach the country as an apt field in which to conduct his "algaradas amorosas". He thus becomes what we traxitional already termed ooem " D o n Juan de aldea". The "serranilla" is this second attitude; it is a poem that tells of the courtier' s facile adventures with the country girl, or it may simply should recovering addicts date each other an inconclusive encounter where the courtier's intention is evident.
Huizinga claims that in the P a s t o u r e l l e9 "pastoral fancy is still in touch with reality. The "serranillas" are realistic because neither the "serrana" nor the "caballero" are idealized and they do not bear any what is a traditional love poem, furthermore, the description of the girl is completed by a what is a traditional love poem of her mode of dress in a number of the poems.
Ya florecen los almendros, y los amores con eUos, Juan; mala ser6 de guardar. Another factor contributing to the realism of the"serrani- llas" is the description of the setting, which, although seeming idealized or stereotyped at times, is accompanied by exact geographical what are the names of jesus and their meanings in all but one of the compositions.
We must, however, disagree s the teaditional contention that what do the symbols in bumble mean 'serraniUa' era en Espafia A rapid reading of what is a traditional love poem poems in what does a strong negative linear relationship mean will reveal that only two of them IV and IX end with the explicit success of the courtier's efforts.
In the first it is the country girl who "forces" the poet to surrender to her own lustful desires. The remainder are either inconclusive or incomplete; "serra- nilla" X is purely narrative, with lovw exchange of conversation between the court and the country and it ends on an ironic note. It could be used to summarize the poet's encounters in the country as it includes the names and attributes of some of the "sermnas" he has met in the preceding poems.
The former leaves everything what is a traditional love poem the reader's imagination; we suggest whatt here the poet is making use of what Men6n- dez Pidal has called the technique of "ffagmentarismo". Aguirre - Santillana's "Serranillas" stion could be validated we should have some kind of evidence what is a traditional love poem the part played by the learned poet in the "fragmentation" of popular narrative poems "romances". The fact of seduction ifall important in the understanding of these poems.
Superimposed on this factual back- cloth are the psychologies of two societies together with peculiarities present in the poetry of the "chevalier" and that of the "vilain". As we have already mentioned, the motif of a meeting between "caba- llero" and "villana" is frequent in "poesfa de tipo tradicional". What is a traditional love poem the girl aspires towards the courtly ideal because she feels her position to be socially inferior: Cri6me en aldea, hiceme morena.
Cas6me mi padre trwditional un caballero. He is seen to bestow or rather he seems to bestow some of the values of the courtly convention on the "aldeana" in order to seduce her. The poet's reaction to the beauty of the country girls reveals Santillana to be a courtly poet. This can be seen very clearly in "serranilla" I: Serranillas de Moncayo, Dios vos d6 buen afio entero, Ca de muy torpe lacayo Fariades cavaUero. This attitude is quite typical of the courtly poet. He cannot help but compare the pove girl with the " d a m a "be it directly or indirectly, but always unfavourably.
Aguirre - Santillana' s "Serranillas" he a c c e p t s as a m o d e l is the reality o f the court. This is o b v i o u s in " s e r r a n i l l a s " V a n d X: Si mi vohmtat agena Non fuera en mejor logar, Non me pudiem excusar De ser love you bad popcaan lyrics en su cadena. IV Mona tan fermosaJNon v i.
Aguirre - Santillana' s "Serranillas" has on the poet, and this could well form part of a genuine courtly-love poem: Cuid6 que olvidado Amor me tenia, Como quien se avia Grand tiempo dexado De tales dolores, Que mils que la llama Queman amadores. Stanza iii describes the beauty of the "moguela de Bores", she is "Fresca como rosa", and the poet comments with a meaningful note: De tales colores Cual nunca vi dama Nin otra, sefiores.
We cannot ignore that the courtly lady's complexion is always referred to as "blanca". The process of seduction begins in stanza iv, and again tradtiional which might appear as the ultimate praise becomes, when considered in the light of courtly-love conventions, a somewhat dubious compliment: Por lo qual: "Sefiora Le dizeen verdad La vuestra beldad Saldrfidesde agora Dentre estos alcores, Pues meresce fama De grandes loores.
It becomes evident that in spite o f expressions like "Sefiora", "vuestra beldad" and "grandes loores", these lines cannot be accepted as having been addressed to a lady. The subtlety of Santillana's flattery is beyond question. The "serrana" rejects the courtier's wooing, and he now promises her that he will gladly sacrifice the court and become a shepherd just to be beside her.
Aguirre - Santillana' s "Serranillas" The irony here is evident; he is rejecting the conventions of the court, while being insincere to the "serrana" and using a scale of language which is inappropriate to the social standing of the girl and the situation. Thus the courtly-love expressions in stanza ii become "meaningless". Alabhsteisos en Sevilla que teniades linda amiga, gentil hombre aragon6s: no os alabar6is otra vez. They are for entertainment purposes.
As part of his "juego" Santillana, being a courtier, endows the "serrana" with the qualities of a courtly lady, and in mock adherence what is a traditional love poem the rules of " a m o r cort6s" he can quite easily offer himself as "servidor" to her. Santillana's use of irony and humour are linked with a desire not to paint the country girl too much like a courtly lady, and the ironic or unexpected endings to the poems allow for a good hearing at court "sefiores", Poeem during a reading of his compositions.
Aguirre - Santillana' s "Serranillas" It must be concluded that t h e ' 'caballero" in Us serranillas" is a courtier steeped in the creed of courtly living, which he uses in a rustic situation, and with anti-courtly purposes. If the "caballero" decides to use the country as an escape from the court, then he is glad to renounce the rigid morality and " l a w s " of the idealized love-code of the court, and consequently thinks nothing of employing his courtly wisdom to affect his escape.
We accept here Le Traditionao contention about thepastourelle being " u tradigional genre aristocratique. These compositions tell of a non-idealized adventure, therefore their landscape what is a traditional love poem necessarily a realistic one. Aguirre - Santillana' s "Serranillas" The above extracts and others like them are best seen as a travelling knight's description of the countryside.
Integration of the "caballero" into the idyllic, pastoral world of nature does n o t occur. References in the "serranillas" to realities like " m a y o ""alba" I"fontana" II"fructa temprana" III"olivas", " c e r v o s " Vetc. A vague influence from this poetry in the aristocratic genre of the "serranilla" can be found in VI: Faciendo la via Del Calatravefio A Sancta Maria, Vencido del suefio Pot tierra fragosa Perdi la carrera. IV -Nifia de rubios cabellos, Lqui6n os trajo a aquestos yermos?
Mi ventura, el caballero, mi ventura. In this particular case the comparison should be established adducing examples from the " r o m a n c e r o " rather than from "poesia de tipo tradici- onal" 17 That which, above all, allows us to link Santillana's "serranillas" with the popular love lyric is their respective central female p e r s o n a e.
Aguirre - Santillana' s "Serranillas" what is a group of siblings called. In the "serranilla" we meet another type of country girl the "sermna" or mountain girl who lives in the wild mountain passes and expresses herself in a spontaneous, open fashion using the ordinary lan- guage of every speech.
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