31
The «Invenciones y letras» of the «Cancionero general», PMHRS, 9 (London: Department of Hispanic Studies, Queen Mary and Westfield College, 1998), p. 12.
32
In a manuscript of Le Livre des propriétez des choses copied in Bruges in 1482 (just a few years before Marcuello's Cancionero), a miniature has in the left background a stylized hill similar to those in the Marcuello miniature; on the hilltop is a phoenix in the flames, and in the branches of a tree sticking out to the right of the hill is a pelican feeding its chicks with blood (see Brunsdon Yapp, Birds in Medieval Manuscripts (London: The British Library, 1981), pp. 116-17). The strong iconographic similarity indicates Flemish influence on the artist of the Marcuello miniature (such influence was, of course, common in the art and music of the Catholic Monarchs' court).
33
T. H. White, The Book of Beasts, Being a Translation from a Latin Bestiary of the Twelfth Century (London: Jonathan Cape, 1954), p. 125.
34
I discuss this poem more extensively in «Catro aves do bestiario na España medieval», Revista Galega do Ensino, XXXIV (2002), 15-47, at pp. 33-35.
35
See Jane Yvonne Tillier, «Religious Elements in Fifteenth-Century Spanish Cancioneros», doctoral thesis (University of Cambridge, 1985).
36
See Tillier, «Passion Poetry in the Cancioneros», BHS, LXII (1985), 65-78.
37
The best introduction to figural or typological reading is still Erich Auerbach, «Figura», in his Scenes from the Drama of European Literature: Six Essays, tr. Ralph Manheim (New York: Meridian Books, 1959), pp. 9-76 (first publ. in German 1944). Marcuello uses a technique about which Auerbach does not have much to say, but which is frequent in medieval literature: postfiguration, in which a post-Biblical event echoes or reflects, at a lower level, an event in the life of Christ.
38
Marcuello must have been disappointed with the slow progress of this aspect of the fall of Granada: although there were mass conversions, notably after a failed uprising in 1499, it was not until the mid-1520s that Muslims were required to convert, at least nominally. See L. P. Harvey, Islamic Spain, 1250 to 1500 (Chicago: University of Chicago Press, 1990), chap. 20, and Muslims in Spain, 1500 to 1614 (Chicago: University of Chicago Press, 2005).
39
For instance,
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| (12.78-82) | ||
40
See Bernhard Blumenkranz, Le Juif médiéval au miroir de l'art chrétien (Paris: Études Augustiniennes, 1966), and Wolfgang S. Seiferth, Synagogue and Church in the Middle Ages: Two Symbols in Art and Literature, tr. Lee Chadeayne & Paul Gottwald (New York: Frederick Ungar, 1970).