Libro de buen amor

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Editorial Castalia, 1985 - Juvenile Nonfiction - 366 pages
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El Arcipreste de Hita y su tiempo. Introducción. 1. La época de Juan Ruiz. 2. La personalidad de Juan Ruiz. Vida y literatura en el Libro de Buen Amor. 3. Título y manuscritos. El problema de la doble redacción del libro. 4. El género literario del Libro del Buen Amor. Bibliografía. Documentación gráfica. Nota previa. Libro de Buen Amor. [I. Preliminares]. [II. Pelea con don Amor]. [III. Don Melón y doña Endrina]. [IV. Aventuras en la sierra]. [V. Batalla de don Carnal y doña Cuaresma]. [VI. Nuevas aventuras amorosas: la monja doña Garoza]. [VII. Muerte de Trotaconventos. Nuevos fracasos amorosos del protagonista]. [VIII. Conclusión del Libro]. Documentos y juicios críticos. Orientaciones para el estudio del Libro del Buen Amor. Apéndice gramatical y de historia de la lengua. I. Características generales de la lengua de Juan Ruiz. II. Fonética, fonología y grafías del castellano de Juan Ruiz. III. Gramática. IV. El léxico de Juan Ruiz.

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About the author (1985)

Little is known of the life of Juan Ruiz, often described as Spain's greatest writer of the Middle Ages and likened to Chaucer (see Vol. 1) and Boccaccio. In his term as archpriest of Hita, a small Castilian town east of Madrid, he apparently collected his own verses and songs into book form around 1330 and then revised and expanded it during a term in prison under sentence by the archbishop of Toledo. In the prose introduction to The Book of Good Love, Ruiz defined two categories of love: "good love" or the love of God and "crazy love" or carnal love. While avowing that his purpose was to expose the evils of worldly love and to lead his readers to the exclusive love of God, he admitted that his text may provide those who reject divine love with useful knowledge of the other sort of love. Thus the ironic tone of the book, as well as its humorous, satiric, and didactic nature, become apparent in this introduction. Juan Ruiz's self-consciousness as a writer and his awareness of the qualities of his art provide a glimpse of the Renaissance spirit. The primary literary source for The Book of Good Love is Pamphilus and Galatea, an anonymous twelfth-century play in Latin by a French poet. Americo Castro and others have suggested the possible influence of Arabic models as shown by the work's composite form, ambiguousness, and sensual elements. In its anticlerical attitudes, the book reflects the crisis of faith facing the Catholic church toward the end of the Middle Ages, a crisis complicated in Spain by the necessity of maintaining the religious fervor of the reconquest.

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