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There is always opposition to this desire of his, some attempt made to convince or force him not to leave -scarcely surprising considering that he is so young He may have to depart secretly an action that Don Quijote was to imitate By this time he will have been or will seek to be dubbed a knight, by the person of highest status he can manage to find and convince to do so -a king or an emperor is ideal -, and will have received as gifts his first set of arms and armor, his shield white as befits a new or novel knight Later, after some especially noteworthy or significant adventure, he will take as a heraldic symbol an animal, natural phenomenon, flower, or some similar item, such as are found in any inventory of coats of arms, which in their origin were based on just such a practice.

Once he has left the court where he has grown up, the knight-errant for such he now is will travel extensively. His travels will be both through familiar and unfamiliar parts of the world: Europe, Asia, sometimes North Africa, sometimes to imaginary places made up by the author. The New World, of course, had not yet been discovered. He may visit London, Paris, or Constantinople, cities already with some chivalric tradition, but never Rome, Jerusalem, nor a Spanish city such as Toledo or Santiago.

The travels of the knight offered the author of the romance an opportunity to entertain his readers, always eager for discussions of new and marvellous places, and display whatever geographic knowledge he might have, and his powers of imagination. The knight will primarily travel by land, on horse or occasionally on foot, but he may well have occasion to journey by sea or by means of some supernatural means of transportation.

His travels may be for various purposes: to see, serve, elope with, or retire from his lady, to attend a tournament announced in some more or less distant city, to go to the aid of kings or queens in need of military assistance to repel invaders or to claim what is rightfully theirs, to obtain a healing agent for someone ill, to help free someone held captive, to catch a glimpse of some beautiful woman, to get to know the identity of or to find his parents There may be no more significant reason than the fact that someone he encounters has requested his company.

The knight never seeks money; indeed, money is so seldom mentioned, as Don Quijote correctly points out to Sancho, that it seems that the protagonists of the romances live in a primitive era, outside the money economy altogether. The only times we find money mentioned at all is in terms of a prize or reward more often a valuable object , or as a tribute or tax demanded by an evil ruler as, for example, in Cirongilio de Tracia , III, The knight expects and receives hospitality from those he meets along his way; similar to the modern Indian holy man, it was considered both a duty and an honor to provide for someone as valuable to society as the knight.

His physical needs, modest in any event, are thus easily met. To the extent that the knight seeks anything, he seeks prestige, fame, and reputation, and his adventures are a means of obtaining these. However, besides his extraordinary deeds, he also attains fame and reputation because of the qualities of his personality -the gracious way the knight treats others, for example, magnanimously setting free the enemies he has vanquished.

Although he will never boast of or even recite his feats -for that would be a symptom of pride-, and may often disguise his identity, using, for example, borrowed armor with a different heraldic symbol, the news traveled fast in the chivalric world, and the knight-errant rapidly became well known and sought after.

He is, in effect, proving that he is of royal abilities, and a fit ruler for the kingdom or empire which he will in the course of time inherit. Part of the knight's reputation, as we have just indicated, is based on something besides his ability as a fighter. He will, in fact, have a great many desirable qualities: intelligence, a calm temper, magnanimity. His mesura and cool temper were important virtues, for one with a hot temper too easily gets into unnecessary fights. The knight has a highly developed ethical sense, and always helps the more deserving of two parties to a conflict; in fact, he feels he has a responsibility to help those deserving persons in need of his help, of which there are many.

The knight does not seek occasions for serious fighting, though he does for the less serious fighting which was intended as entertainment. He avoids conflict whenever possible, and only engages in it when reconciliation with his opponent is impossible, when the adversary cannot be made to see the inevitable error of his ways. He will be a good courtier, even though court life is not to his taste He is neither wordy nor taciturn, and may be able to play musical instruments and compose verses.

With all these desirable qualities and abilities, it is scarcely surprising that the knight is widely liked and respected. They may be simply jealous of him, jealousy being both a sin and a flaw in one's personality, or they may seek revenge for some defeat they have received at his hand Not infrequently he may gain an enemy as a consequence of an interest in, or from, a female. Such enemies may invent falsehoods about the knight, accusing him of treason which he would never dream of committing. He may be accused of love for an inappropriate person, such as a married queen Or the accusations may be less serious.

Usually the ultimate fate of the knight's evil accusers is death, either because a battle is required to show, through combat, which party is telling the truth and to cleanse the knight's honor and reputation, or because the malcreants are put to death by the king when exposed, or because they cannot bear living in humiliation, which in the chivalric world, again reflecting contemporary Spanish values, was felt to be intolerable.

The knight-errant and protagonist will not, however, seek the death of his enemies. Among the evil characters the knight will come into contact with on his travels are giants. As I have explained elsewhere , the giants were not supernatural beings but merely very large and ugly men, who believed themselves to be superior to ordinary men and therefore free from the troubling need to follow society's rules.

Giants are clearly the villains of the romances of chivalry.

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Never Christians , they usurped kingdoms because of their whim, and carried off women with the intent of raping them and men to be sold as slaves. One may well note here a reflection of the Spaniards' attitude toward the Moors. The giants are haughty and disrespectful. They offer the knight the chance to show his extraordinary abilities in defeating and killing them; in the case of giants, he does not hesitate to put them to death. Occasionally one finds a good or reformed giant , and sometimes dwarfs , evil or otherwise.

Several other characteristics of the knight in the romances of chivalry need mentioning. Because he is such a likeable person and a good companion, the knight is seldom alone. This is not because he has a squire, since the role of squires in the Spanish romances of chivalry, as Don Quijote knew, is a very secondary one. It is rather because friends of similar age, or relatives, accompany him on his travels. Often he travels with knights that he meets by chance on the road. The knight is also an outdoorsman. He is not upset by the discomforts of travel in those primitive times, and frankly enjoys the nature by which he is usually surrounded.


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He goes through beautiful forests, climbs gentle hills, comes across fresh, clear rivers , is woken in the morning by the singing of the birds, and makes his meals when necessary from what nature provides. His main diversion, aside from tournaments or an occasional sarao with the ladies, is caza de monte.

Correspondingly, the knight does not like urban life.

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Cities, as well as creature comforts, make him uneasy and restless. To visit a castle, palace, or court the latter usually set in a city may be attractive for a time, but once the tournament is over or his business concluded, the knight feels he must be on the road again, an attitude clearly reflected by Don Quijote in II, 57 and 58 of the Quijote. The knight may even be surmised to have a certain scorn for those who do not share this view. One of the saddest moments in the life of a knight-errant or in the life of a king, perhaps the protagonist's father, a former knight-errant is when he finally accedes to his throne.

While the knight feels comfortable in small groups and is glad to have company, he dislikes large gatherings of people. In a military action, conscious of his status, he will not mix with the common soldiers, though he will quite routinely accept a meal from shepherds if he encounters them on his travels. The tournament is the only exception to this, since tournaments are a basic element of the Spanish romances of chivalry, and they bring together a large body of knights.

It may safely be concluded that the tournaments are as frequent as they are because the Spanish readers found them entertaining, strange as this may seem to the modern reader who has lost the taste for this type of sport. A tournament would be given by a king, who himself gained status by staging one and by having distinguished knights in his court, even for a short time; the king also would enjoy recapturing some of the pleasure of the company of other knights, which he cannot enjoy as frequently as in his youth.

A tournament usually had some prize or prizes to be awarded, some attraction which would draw knights. They came not so much for the prize to be awarded since the winner, our protagonist, would invariably give it away in his turn, often to a woman present at the tournament whom he wished to impress.

The knight entered the competition for the honor of winning the prize, the status gained thereby, and the social obligations he created with his gift. The most common sport at the tournaments was the fight with lances, long, thick poles with which two knights at a time ran at each other, on horseback, each attempting with the blow of the impact to knock the other from his horse.

The force of the impact was considerable, and often the thick lances would break; the two knights would continue using additional lances until one was victorious Although physical injury was not the object in this sport, which was often a game among friends, it was not uncommon for someone to be hurt. A sort of impromptu tournament, semi-serious, which the knight might encounter was the paso , in which someone would block the road, or a bridge, and the knight could not continue his travel unless he admitted something unacceptable that his lady was less beautiful than another, for example , or defeated in battle the knight maintaining the paso.

That this type of adventure antedated the Spanish romances, and is found in the fifteenth-century Passo honroso -itself a reflection of literature -, is so well known as almost to make it unnecessary to mention it here. Along with tournaments and pasos , battles are also an essential part of the romances of chivalry, and here again the knight-errant is able to show his exceptional abilities.

Always held for a serious and just reason -to repel an attack, for example- the battles are invariably bloody affairs in which many are killed , unless, as occasionally happens, the two sides to a conflict decide to have a limited number from each side determine, through fighting, the outcome The protagonist is usually not a main participant at the beginning of a battle, since he remains calm and somewhat detached, and the duty of fighting would first be assumed by the person s the knight is aiding.

But when the knight-errant, the hero of the story, has his anger aroused, he becomes a terrifying opponent. He wields his sword and charges through the battle, cutting off heads and arms, penetrating armor with the force of his blows. Not unusual is the blow which descends through the helmet, the neck, and part of the trunk, severing an opponent almost into two parts. There is often a religious element to these battles, in which the knight, though not necessarily a Christian, helps the Christian side, which will in any event be more deserving for other reasons. Women and love usually play a secondary role in the Spanish romances of chivalry, serving more as background, or providing motives for action , than taking part in the action themselves.

Ladies did not travel for pleasure or amusement; in fact, except for women in search of assistance or carrying out some vow, they did not travel at all unless forced to by evil-doers.

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We can summarize by saying that both literally and figuratively, women are the spectators at the tournament. Love, of course, was seen as a refining element, felt to improve men, and the knight will fall in love at some point with the woman he will eventually marry, though not much significance was given to the marriage vows, to judge from the number of children conceived out of wedlock. But love was still a pretext for adventures, rather than a main focus of attention. The knight's courtship of his lady, consequently, will usually be secret, and beset with external difficulties, even if the lady is agreeable, which is not always the case, especially at the beginning The romance will usually end with the marriage of the knight perhaps a joint marriage, together with some of his friends or relatives , the birth or conception of a son, and the protagonist's accession to the throne Women in need of assistance, ranging from queens to humble servant girls, are the basis for many of the knight's deeds The protagonist will not resist the request to help such a deserving person Adventures with the supernatural will also present themselves to the knight, though not in the sense the Quijote has given us to understand.

He will not be pursued by enchanters; more often he will have sabios with some magical powers -those consistent with Christianity, usually- who will be working to help him, and may determine the course of the plot But the knight will still have to combat with unnatural beasts of all sorts , penetrate obstacles created by magic in order to reach some protected place, fight and find the inevitable weak point of a combatant with magical gifts, or travel in a boat, carriage, or other conveyance sent and moved by magical means.

He may be misled by apparitions, or be held enchanted in a castle or island for a period of time So far we have been discussing the ways in which the romances of chivalry are similar, and they can seem surprisingly similar and even monotonous to the casual reader. But this is merely a reflection of the fact that the customs of another age, seen from the perspective of some five hundred years, will seem uniform and will not reveal their nuances and details until one is familiar with the broad generalities. One would scarcely expect the readers of the romances to purchase and read numerous works if these were all seen by them to be identical.

The differences were what made the romances, as a genre, possible. The travels that the knight undertook were thus similarly varied -he might travel to China, at one end of the world, or to England, at the other. The romance may have numerous subplots, with many simultaneous stories and many secondary characters, sometimes taking center stage for a period of time. However, this is a difference of degree, for even those romances concentrating more specifically on one protagonist had, by modern standards, an extremely confusing number of characters. The types of adventures encountered by the knight, the problems he is beset with, the ways in which he is tested, the various and diverse fantastic beasts or magical apparitions, the military situations, all could provide for variety within the standard framework of the romance.

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Even the various and seemingly endless and uniform tournaments actually have subtle differences within them to maintain the readers' interest, just as each soccer game, for example, is different, though to one who has not seen many games and does not understand the strategy, they will all be alike.

Within the limitations provided by the ideal of knighthood and by implication, manhood to which the knights of the romances must conform, the various protagonists of the romances of chivalry are in fact diverse individuals. One may be more interested in love than another; one a more constant lover than other. One knight may have a particularly fierce temper, and though a calm, even excessively calm, individual normally, particularly fierce temper, and though a calm, even excessively calm, individual normally, become a particularly terrifying warrior when he is aroused.

Though all the protagonists of the novels are exceptional fighters, their interests in music, poetry, and travel, to cite a few examples, may vary. A knight may have an overriding purpose or goal which stays with him and underlies his varied actions through much of the romance -finding the secret of his ancestry, for example- or such a general purpose may be lacking, and his motivations be more specific and of more limited duration. We see also in the romances attempts by the authors to impress and divert the reader through creation of specific set pieces, often with reference to well-known Classical events.

The author may state that his readers are about to see a new battle of Troy, fought over a woman more beautiful than Helen. A series of chapters may be centered around a particularly marvelous castle, with transparent walls, extremely elaborate and rich decoration, and superlative inhabitants Several times in this chapter I have referred to the Spanish nature of the romances, and it is worth referring to it once again in conclusion.

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The world presented in the Spanish romances of chivalry is an idealized version of Spain itself, not so foreign as to be truly surprising, just enough so as to be entertaining. The values are Spanish, and all characters save clearly identifiable outsiders share them. The value system is more specifically that of the Spanish nobility at the end of the Middle Ages and beginning of the Renaissance; the only difference is that the characters endorse these values so firmly, just as they themselves are obviously idealized individuals-ones that the readers, perhaps, would like to identify with.

The romances of chivalry, then, presented to their Spanish audience a world which was familiar in its basic values even though different in details. For this reason it was a reassuring world, one free of the moral and political confusion characteristic of early modern Spain and of most other times as well. Black is black and white is white in the romances of chivalry, heroes and villains are clearly distinguished; women are either virtuous or common, beautiful or ugly.

The books, while entertaining to the spirit, were relaxing to the intellect, as one would expect from a type of literature which was essentially escape or pleasure reading. One should not be surprised that the romances were as popular as they in fact were. While Montalvo's works have been edited and studied in depth for over a century, the works of Silva, with the partial exception of his Segunda Celestina , have not been reprinted since the sixteenth century, and have been studied incompletely by a small handful of specialists Scholars have generally felt it superfluous to look at Silva's works for themselves after these comments from such an authority as Cervantes himself.

Silva was thought of by some as a writer of the same stature as Antonio de Guevara , and he was a friend of Jorge de Montemayor, who dedicated to him an epitaph and an elegy We can also gain information about the esteem in which the works of Silva were held by looking at the printing history of his works. Irving Leonard, from his study of ship inventories, comments on the distinct popularity of Silva's Florisel de Niquea , during some part of the century the most popular romance All of this suggests that the modern imbalance in the popularity of Silva's and Montalvo's works did not exist in the sixteenth century, nor even later, to judge from the adaptations made of Silva's works , and from the fact that, like Homer or Ovid, he was such a famous author as to have attributed to him works that were not his There are a number of factors one can point to in order to explain why this was so.

Montalvo was also an author of limited output. Furthermore, Montalvo was a writer of a distinctly moralist outlook. Montalvo criticized the characters of his source, such as Oriana, and tried to de-emphasize the role of personal combat In contrast with Montalvo, Silva was a voluminous writer, the only author of romances of chivalry to achieve renown from his fiction.

The fact that he was a moderately well-known writer in his own day, so much so as to offer a target for parody , has led in part to the conservation of considerable biographical material. The collector of curiosities Luis Zapata records his strange ability to predict the winners of battles and oposiciones The love element in his life was an important one, as we shall see shortly, but once married, he led a calm family life.

Despite his abundant literary production, Silva was far from wealthy at his death, his printer Portonariis owing him a sizeable quantity of money Nevertheless, he is reported to have been helpful to those in need, though whether this was financially or otherwise is not specified The plots of his romances are more complicated than those of his predecessors, with more characters and as a result more narrative threads and subplots, to the point where it is virtually impossible to make an intelligible summary of the plot of any of them But even when the adventures are the same as those found in the works of Montalvo, the difference between the two authors is clear.

In this castle a group of the protagonists is enchanted, to remain there a hundred years. A final point in the comparison of the works of Montalvo and those of Feliciano de Silva is the contrasting treatment of love. Place, I, In the works of Silva love is just as present, but it is of a different sort, less idealized and more sensual. His grandson, Rogel de Grecia, is even more licentious. This change in focus may perhaps be explained by examining the personality of Silva. Of the love element in Montalvo's life we know nothing. Silva was certainly a person who married for love not unknown in that period, but not so common either -since he married, against the strong opposition of his family, a girl, Gracia Fe, of Jewish descent Her last name was concealed and is unknown.

Mendoza did not know how many illegitimate children he had These comments clearly suggest a man in whose life love has played an important role, and whose experiences are reflected in his fiction. It is not surprising, then, that Silva differs in two ways from his predecessors in his portrait of love.

His portrayal of the courtly lover, the one who suffers from his love for an idealized woman, is more developed than anything found in any earlier Spanish text. At the same time, in different sections of his works, we find a physical element to the love among men and women which had also been missing from the romances of chivalry. We should not forget that Silva was the author of the Segunda Celestina , much less moralistic than the work of Rojas.

If Darinel is a versifying courtly shepherd, Florisel seeks physical rather than spiritual love Cravens, pp. This is the only way he can sleep in the chamber of the beautiful Niquea; the results are predictable. It is difficult to imagine how, within the framework of the Spanish romance, an author could produce works which differed more from the chaste and simple novels of Montalvo.

If Silva's works were attractive for all the above reasons to sixteenth-century readers, and the modern literary public has shown that it can appreciate some of the romances of chivalry, could it not, also, recapture some of the pleasure that contemporaries found in the works of Silva? The romances of chivalry offer great possibilities of research for the young as well as the mature scholar. We still need to make the bulk of the romances accessible through modern, critical, published editions Lepolemo, o el Caballero de la Cruz , different from the other romances in its North African setting and almost complete lack of supernatural elements, would be an ideal candidate.

There are a number of analytical or stylistic studies that could properly be made by scholars with an inclination to this type of investigation. A comparison of Platir with Florambel de Lucea could determine whether they are by one author, as one might suspect from the dedications A study of a theme in various romances would be useful -the giant in the Spanish romances of chivalry, the architecture, the flora and fauna of the romances of chivalry. An index of the motifs or themes of the romances of chivalry, a task too large to be carried out comprehensively at present, would be a very useful research tool.

One versed in fifteenth- and sixteenth-century history might well study allusions to contemporary events in the romances.


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Is the Greece found so often in the romances of chivalry exclusively the ancient Greece of Homer and Alexander the Great, or does it reflect something of the medieval Greece with which the Catalans, at least, had contact? Such an investigation could perhaps help scholars such as O'Connor, who prefer to work with the translations, and would help us see how France, England, and Germany saw Spain at that time. Particularly valuable for comparatists would be a study of the interest in the romances of chivalry during the romantic period, when Southey and Rose translated romances into English, when Hispanophiles such as Sir Walter Scott were inspired by them in their portrayal of remote times, when even a poet such as John Keats was influenced by them.

A study of the influence of the romances on the learned Spanish epic has yet to be undertaken. Even more important, however, is the fact that by no means have all the chivalric allusions in the Quijote been discovered. It is true that because of the similarity of many of the romances, it is difficult to be sure that a parallel indicates a borrowing, but by the same token, some of the parallels already discovered may be coincidental and it may be for some new scholar to find the true sources.

It would be valuable even to go through any one romance, identifying all the potential parallels with the work of Cervantes; with a series of such analyses one would then be in a position to begin a serious study of the chivalric sources of the Quijote. The romances of chivalry which are the subject of the present discussion are those which were written in Castilian in the sixteenth century They are scarcely mentioned in the Quijote.

In any event, they do not form part of Spanish literature The accepted opinion concerning the Spanish romances of chivalry during their heyday, the sixteenth century, is that they were works which were read by all classes of society, from the highest to the lowest, but with a considerable predominance of the more numerous lower classes.

The immediate sources of these observations need not concern us here. Their ultimate source is undoubtedly the Quijote , since in it the romances of chivalry are discussed in more detail than in any other contemporary work. These passages are important, and we will return to them, but they should not be accepted uncritically as the final word on the subject. There is, in fact, a considerable quantity of other data which bears on the problem.

We may begin by noting that although many moralist writers of the period criticized the romances of chivalry, with varying degrees of justification, we will look in vain among their comments for any indication that the books affected members of the lower classes Other nobles, however, remained interested in them as adults -notably Carlos V and many of his court, which set a model for the country by its interest in romances of chivalry and in chivalric spectacle Were this not a factor, one would expect the books to be dedicated to older patrons, who might be more pleased by the flattery and in any event in a better position to reward the author.

There are a significant number of cases again, see Appendix in which an author dedicated successive books to the same person, or in which one romance was dedicated to a husband, and later a different one to his wife , or to a father and then to his son. Still other romances, as can be seen from the dedications, were written by members of the same household, and there is no doubt that in certain cases the publication of the work was subsidized by the mecenas involved.

It is still true, of course, that the receiver of a dedication might not be pleased by a book, but we can nevertheless safely assume that he would not have felt the dedication to be an insult; works printed expressly for popular consumption, such as the pliegos sueltos and the libros de cordel , had no dedications at all. The books themselves, as physical objects, offer us considerable information.

They are, almost without exception, folio volumes; the exceptions are themselves significant, since they were printed out side of Spain The editions were small. The printing, except for a few reprints of the final quarter of the century, ranges from good to excellent in quality ; some of the editions are illustrated with woodcuts.

Their purchasers had them bound in bindings of high quality Some documents provide us with concrete evidence that these books commanded a high price. An important source for the early part of the century is the well-known catalogue of the library of Fernando Colon, reproduced in facsimile by Archer Huntington in This partial listing of the contents of his library includes for each entry the price paid, as well as the place and date of purchase, information invaluable for a study of contemporary book distribution.

He evidently purchased as many romances of chivalry as he could obtain; the prices he paid for them are as follows:. The romances of chivalry are clearly the most expensive Spanish literary works in his library. We also find evidence of these high prices later in the sixteenth century.

Upon examining the printing history of the genre, we can also draw some conclusions. Estas son algunas de las cientos de cosas que puedes hacer con una de estas cajas instaladas al lado de tu TV. No compres pendrives 2. Un fuerte saludo y que tengas una excelente semana. Etiquetas: homeatv. ATT: Posonty. Buenas tengo un problema y quisiera que me ayudaran tengo una tv box bqeel y1 y tengo montado en mi PC el sevidor Kodi para llevarle a mi televisor las pelis que tengo en mi pc y la apk que tengo instalada en la tv box es el vlc, pero cuando empieso a correr el kodi el vlc ve mi servidor y ve lo compartido pero a veces se marea y no ve las cosas o ve las carpetas vacias que puede pasar o que puedo mejorar.

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