THE palace poetry it was developed from the 15th century onwards within the literary movement called Humanism.
It received this name because it was produced in palaces and was intended for the nobles. That is, they were intended to entertain the members of the Court.
The main themes explored by palace poetry were: court customs, religious, satirical, lyrical and heroic themes.
Palace poetry was collected by the Portuguese poet Garcia Resende (1482-1536) in the “General Songbook” (1516). The songbook gathered around 900 poetic productions of the time.
The main writers gathered in the songbook were:
- Garcia de Resende
- João Ruiz from Castelo Branco
- Nuno Pereira
- Fernão da Silveira
- Count Vimioso
- Aires Teles
- Diogo Brandão
- Gil Vicente
Palace Poetry and Troubadour Poetry
Previously, poetry was closely related to music. It was during humanism that the poetic text began to separate itself from it and acquire its independence.
At the troubadour, the main poetic productions were the lyrical songs (Amor e Amigo) and the satirical songs (Scarnio and Maldizer). They were poetic texts recited and accompanied by music and dances, hence the name “cantigas”.
So, the troubadour songs they were produced to be sung, while palatial poetry, to be recited. The main poetic compositions explored in the period were: vilancete, sparse, cantiga and trova.
Main Characteristics of Palace Poetry
- Absence of musical instruments
- Separation between poetry and music
- Presence of rounds (5 or 7 poetic syllables)
- Use of figures of speech
- Presence of idealism and sensuality
- Metrics, rhythm and expressiveness
read more:
- General Portuguese Songbook
- Humanism
- Characteristics of Humanism
- The Language of Humanism
- Medieval Literature
Examples
To better understand the poetry produced during the humanist period, below are two examples of Palatial Poetry:
Example I
“My love, I love you so much,
that my desire dare not
desire nothing.
Because if you wanted it,
he would expect her soon;
and if I expected it,
I know I would disgust you.
A thousand times death I call,
and my desire dare not
wish me something else.”
(Count Vimioso)
Example II
"My love so much,
who desires the heart
a thousand things against reason.
Because if I didn't want you,
how could I have
I wish you would come to me
of what can never be?
But despite despair,
and in me so much affection,
who desires the heart.”
(Aires Teles)
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