The matter of manuscript authority need not delay us. Briefly, there are three manuscripts, designated G, T and S. T is so called because it came from the Cathedral of Toledo; it is now in the Biblioteca Nacional in Madrid. S was discovered in the library of the Colegio Mayor College of Salamanca, where it remains.
Both G and T dated are shorter versions. S is the longest and most complete text; it is dated , which suggests that the Arcipreste revised and enlarged his version. The biggest problem for scholars is that none of these manuscripts is from the years In other words, they are copies.
The handwriting suggests that they are from the late 14th and early 15th centuries, but we are not exactly sure of the source or sources they come from. Still, putting aside the textual puzzles, we can say with a fair degree of certainty that the Libro de buen amor was composed some time before and revised and expanded before , and that its author was Juan Ruiz, Archpriest of Hita.
None of the manuscripts has a title, but there is now general consensus that the text itself gives us a clue of what the Archpriest had in mind: Libro de buen amor. The expression buen amor turns up frequently in the poem, but it is stanzas 13 and in particular that clinch the argument.
Since the Latin etymon was rhizotonic it can be categorized as an athematic perfect meaning that it lacks a thematic vowel. This is also known as a strong perfect, which are verbs notorious for their irregular past tense forms. The Latin etymon is a class IV infinitive verb; thus the stress is in the stem of the verb making it arhizotonic. The Latin etymon is a Class I conjugate form which is by definition arhizotonic, meaning the stress is in the infinitive ending.
The singular first-person and the singular second person conjugations derive directly from their respective Latin forms. The accent over the A in the modern form of the verbal conjugation demonstrates that the stress is arhizotonic and thus a reminder that the stress lies in the infinitive suffix. This is one of the rare instances of analogy in Spanish. Spanish typically adheres to original Latin forms regarding conjugations, hence, the fewer instances of analogy, or the process of phonetic evolution to assimilate to another model, in Spanish.
The singular first-person Spanish conjugation is an allomorph induced by a stressed position. This change is only present in the first-person singular and is thus is an anomalous first singular conjugation. Note that this is the reflex found in the text.
The accent over the A in the modern Spanish reflex demonstrates the arhizotonic and word final stress. This form is pervasive in all class types and is therefore reflective of analogy. It has an unusual infinitive form in that it fails to fall into any of the four classes of Latin verbs, and its preterite form is just as bizarre.
Normally this word initial position is one of strength, but since it is a short read: weak vowel it still undergoes lenition. The singular first-person and preterite conjugation derives directly from its respective Latin forms.
Note that this is the form of the verb that is found in the text, however there are a few key differences between the modern form and the middle form. The loss of this demarcation of stress tends to be a common theme in the transition to Latin.
Note that the infinitive version of the verb is the form found in the text, however I will still continue with an analysis of the verbal morphology in the modern Spanish conjugates. The Lady of Lent is going to arrive for a time of penitence for all the sins of the Lord of Flesh. Lady Lent addresses letters to Lord of the Flesh setting terms for battle.
There will be fasting. Lord of Flesh goes to battle of the fast with soldiers, who are lots of different food items. Includes various aspects of Christian chronology — the liturgical year. Lord of Flesh asks for penance and writes a confessional letter.
You have to believe that you will achieve salvation at end of penance. You can be forgiven by God but not by church. Stopped at stanza You have to publically demonstrate your penitence rather than hiding your sin. Ruiz uses context of battle to include this lesson. Lord of Flesh is gaining strength again — in order to corrupt.
Lord of Flesh escapes on Palm Sunday before Ash Wednesday and goes to sin — goes to the Jews and their butchery to break his forced fast stanza Idea of salvation with Cuaresma vs. Again, there were many conflicts not only across religions like Christianity and Islam, but even within Christianity itself.
Juan Ruiz helped settled some of these disputes, by being a witness during the trial. This is where historians first see his name in any historical documents.
Since his name is included, historians believe he was a real person, but are not completely sure about whether his stories in El Libro de Buen Amor are all actually true and are about him. Assuming it was an autobiographical account, this would mean that Juan Ruiz studied in theology and science at Toledo and likely knew Arabic due to Moorish control over parts of Spain, Medieval Spanish, and Latin.
During this time, many Spaniards learned Arabic due to Moorish control of parts of Spain. Due to his intellectual background, Ruiz likely studied many of the literary works of his time. This leads historians to believe that he may have fictionized parts of his story, using popular literary practices of the time. Going off the story in El Libro de Buen Amor, Juan Ruiz was first awarded a bureaucratic position in the diocesan curia. Because of his background in this work he was later awarded the prestigious title of Archpriest of Hita, a very small, but also significant town on the border of Christian and Arab towns.
Based on both historical events and on the content of his book, historians believe that many parts of El Libro de Buen Amor are actually true and plausible for this time period. He wanted readers to recognize these names to create a stronger belief in the readers that this was an autobiographical account of Juan Ruiz. Also, Ruiz employed many different styles of poetry in his work. Some mimics the structure of refrains found in the Bible, poetic forms introduced to Spain by Arabs, and even less sophisticated poetry styles that contained a varying number of syllables.
Ruiz strategically uses these different styles to speak about people of different social classes. This story follows Ruiz as he tries to make love connections, of which there are ten. This was also a time of transition from long and complicated epic poetry to the types of literature that have origins in French and Italian.
Juan Ruiz employed unique strategies in his writing.
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