Sobre el autor y la obra
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Don’t know who the author is, as the poem is
anonymous. Thoughts are that it was maybe written by a monk, just because the
manuscript was found in a monastery.
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The writer didn’t know all the historical facts
about Fernán González, but knew the basics, and improvised around what he know.
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Was written between 1249 and 1271
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The only remaining original manuscript is
incomplete – no conclusion
COMPS
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Should know about the “mester de clerecía” – its
origins and why it’s interesting/odd to see it used here.
Historical person: Fernán González
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Born in 910 or 929??
Summary & Basic Idea (Wikipedia & Cervantes Virtual)
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The poem reiterates the campaigns of Fernán
González against the Moors, his wars against the Kingdom of Navarre, his
debates with the King of León, and his protection of San Pedro de Arlanza,
where he was eventually laid to rest. Fernán's ability to keep Castile out of
the reach of the Moors, however, is most heavily stressed. The poem is designed
to present Fernán as the legitimate ruler of all Spain and thus justify
Castilian supremacy in the poet's own day.
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La idea latente, pero fundamental, del Poema y que sin duda fue su
inspiradora, se reduce a la siguiente: Después de la invasión musulmana, el
imperio visigodo de España continuó territorial mente en Castilla primitiva, y,
por ende, también su legítima soberanía sobre toda España. En la conquista
mora, Castilla la Vieja fue el único territorio de toda España que no ocuparon
los árabes; por esta misma razón, Castilla es heredera nata del honor, poderío
y derecho dominativo del imperio godo-español. Castilla ha sido también la
fuerza vital e impulsora que ha ido reconquistando el territorio de la España
visigoda. Cuál sea la grandeza y honra de esta restauración aparece claro de la
exposición de cómo se fundó el imperio godo y cómo se deshizo por la cimitarra
de los agarenos, que el Poema describe en su primera parte. Ahora bien:
Castilla es, ante todo, la obra de Fernán González; éste es su soberano después
de la invasión mora, que la sacó del poder en que de algún modo la tenían los
reyes de Asturias y León y le dio la facultad, alma de expansión y demás
méritos que al presente la dignifican.
Genre (mix of several)
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Poema
de clerecía
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Cantar
o poema épico
-
Texto
hagiográfico
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Poesía
épica eclesiástica
Structure
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Basic breakdown
o
Estrofas 1-70: History of Spain until the fall
of the visigoth kingdom
§
Idea that the Visigoths are chosen by God to put
forth certain set of events in Spain
o
Estrofas 71-123: Reconquest until the time of
Fernán González
o
Estrofas 174-224: Fernán González’s childhood
o
Estrofas
226-245: Arlanza – Caza del puerco
§
Essential element in the story of Fernán
González’s life
o
Estrofas
279-324: Batalla de la Era Degollada y muerte del rey Sancho de Navarra
o
Estrofas
325-377: Muerte del conde de Tolosa
o
The plot fizzles out at the end of the poem
(doesn’t seem to be a complete text)
-
The original manuscript is one continuous story –
editors have divided into titled sections
-
At the beginning of the poem, the poet gives a sort of
brief summary of what he will discuss in the poem. This is similar to something
that would typically be found in books of the time period. This guides the
poem’s audience to understand what’s going on and also to be more interested in
the poem.
Themes / Important ideas
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Orality (like in the Cid)
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Role of advice/consejo
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Use of mester de clerecía
Contexto Social; Contexto
presentado en la obra (Religiosa e histórica)
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Castile is independent, due to an alliance with Navarre
-
First lines of poem –
o
Invocation of God, who the poet immediately
relates to Castile and especially the count. This is done in part to relate
Castile’s specific history to the more general theme of God’s creation of the
world, etc.
o
Seems that the count almost replaces Jesus in
the trinity (as Jesus isn’t mentioned – the count is mentioned in his place).
-
The count is given some qualities that are normally
attributed to Jesus.
o
Jesus never doubts who he is, and Fernán doesn’t
either, despite being kidnapped and raised since a young age by a coal
merchant.
-
Message that the Spaniards are God’s chosen people –
they live in a second paradise (Castile). Implication that there will be a
second fall.
General/Misc. Notes
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In comparison with El
cantar del mío Cid
o
Very similar to the Cid in terms of format, preservation of manuscripts, anonymous
author, etc.
o
Not as exciting in theme, somewhat depreciated
in considerations of literature due to this
o
There’s more movement/action in this poem
-
The poem starts under the façade of being a
story/history of the world/Spain, but it turns into a poem focused on the story
of one person – Fernán González
-
Influence of the “escryto”
o
Idea that this poem is based in other sources,
information is derived from other texts
o
Several references to things written (“escryto”)
and also things heard (“oydo”)
o
Idea that these references give
authenticity/credibility to the work
-
Concept of the “consejo”
o
Several places where the word “consejo” appears
– there’s a big emphasis on the role of advice in the plot line / in history
§
In the Cid,
this isn’t so much the case. There is some mention of the role of advice, but
the Cid basically decides what he wants to do on his own.
o
The count Fernán González receives bad advice
(un mal consejo) from the Devil, and then gives the bad advice to don Rodrigo –
this is why the betrayal occurs and there is a fall (Arabs invade)
------------------------ **this mimics
the fall of Adam and Eve in the Garden
o
Institutional element in the medieval concept of
advice and power – all leaders depend on royal council/advice. If something
goes wrong, it’s not the leader/king’s fault, it’s the adviser’s fault (to some
extent). The leader/king’s power is also limited somewhat because he has to
respect his advisers – can’t make any big decision until after hearing his
advisers’ opinions.
§
Aspect of orality in giving counsel – counsel is
given by voice and received by hearing
Notes about things that occur in the poem / plot type stuff
-
First lines of poem –
o
Invocation of God, who the poet immediately
relates to Castile and especially the count. This is done in part to relate
Castile’s specific history to the more general theme of God’s creation of the
world, etc.
o
Seems that the count almost replaces Jesus in
the trinity (as Jesus isn’t mentioned – the count is mentioned in his place).
-
Some of first section of the poem is somewhat like a
genealogy, describes succession of all the kings/princes up until Fernán
González
-
Section that praises Castile (“Elogio”)
o
Poet describes paradise – suggests that Castile
is an earthly paradise, with abundant resources (not exactly the reality)
o
Suggest that Spain is the best land/country in
the world, and that Castile is the best region of Spain (and therefore the best
place in the world)
o
Introduces apostle James (Santiago) – emphasizes
his importance
o
Rhetoric: “everybody knows that people from
Castile are the best”
o
Vision of Castile as a very small place –
Biblical idea: smallness is positive; it’s the starting point for something
huge later. (This idea is reflected again in the simple/small origins of Fernán
González).
-
Fernán González’s childhood
o
Simple origins – idea that something big can
start with something small
o
Fernán is kidnapped as a child and raised from a
young age by a coal merchant – but he still never doubts his true identity
-
Arlanza – caza del puerco
o
Monastery that starts in a simple hermitage –
again, the idea of something small that is transformed into something big
§
Three monks (reflects holy trinity… medieval interest
in numbers)
o
Fernán González pledges some allegiance to the
monastery, which he will later be giving tributes to (idea that Castile is a
vassal, not to a king but rather to God)
§ “Castilla nunca acepta a un señor, excepto
a Dios” (profe. Domínguez)
Misc. notes about first part
I – Preludio
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Introduction, refers to God & Holy Trinity and says
he wants to write “una prosa” about the count of Castilla (Fernán González).
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They are most
definitely perfect little 14-syllable lines.
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Talks about creation and ancestors, building up to
count Fernán.
II – Doctrina mora y cristiana
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Reference to the conversion of Spain to Christianity –
“once we were baptized Christians we never wanted any other law, but we
suffered because of that.” The Spanish fought for their faith (against Arabs,
moors, etc.), and there were lots of martyrs who died.
III – Los godos constituyen el reino de España
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The first kings of Spain were the “godos” (the
Visigoths). They were surely sent by God. They weren’t Christians when they
came here, and they completely took over the place. But the Holy Spirit guided
them to realize their idolatry and they converted!!
IV – Los reyes godos
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The visigoth kings went to heaven when they died
because they were baptized Christians. List of the kings and description of
their virtues and reign.
-
The
whole kingdom was Christian (“Era estonce España toda de una creencia; / Al
Fijo de la Virgen facian todos obediencia”)
V – Invasión de los moros
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The devil provoked a betrayal in Spain, because of
which the moors were able to invade. Description of the betrayal (we have read this same idea before – in the
selections of chronicles, about the Muslim conquest of Spain, from the very
beginning of the course)
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Don Rodrigo – the king that was betrayed
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The Christians really suffered during this time
VI – Reconquista cristiana
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Christians: “We have failed God; he gave us Spain and
we lost it! Oh no!!!”
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We may be sinners but we are Christians and we respect
your law, God – we have faith in your mercy” (last 4 lines)
IX – Canto a España y Castilla
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The land of Spain is awesome. The horses are
particularly incredible. Of all of Spain, Castile is the best.
XI – El Conde Fernán González
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There was never any man/knight like the count Fernando!
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He said, “God, I’m just a sinner but help me save
Castile from all this pain and bad stuff!”
Themes
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Use of “mester de clerecía” for an epic theme
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Conquista de los moros
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War/Battle – fight for honor/justice
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Superiority of Castile
Writing style
-
Mester de clerecía, but is an epic poem rather
than a religious one.
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