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The arrangement of Ruiz' verse, disorderly as his life, foreshadows the loose construction of the picaresque novel, of which his own work may be considered the first example.

One of his greatest discoveries is t he rare value le autobio graphic form. Poet, novelist, expert in observa- tion, irony, and travesty, Ruiz had, moreover, the sense of style in such measure as none before him and few after him, and to this innate faculty of selection he joined a great capacity for dramatic creation.

Hence the im- possibility of exhibiting him in elegant extracts, and hence the permanence of his types. The most familiar figure of Lazarillo de Tormes — the starving gentleman — is a lineal descendant of Ruiz' Don Fur6n, who is scru- pulous in observing facts so long as there is nothing to eat ; and Ruiz' two lovers, Mel6n de la Uerta and Endrina de Calatayud, are transferred as Calisto and Melibea to Rojas' tragi-comedy, whence they pass into immortality as Romeo and Juliet.

Lastly, Ruiz' repute might be staked upon his fables, which, by their ironic apprecia- tion, their playful wit and humour, seem to proceed from an earlier, ruder, more virile La Fontaine.

Ferdinand and nephew of Alfonso J he Learned. Mariana's denunciation of '' him who seemed born solely to wreck the state" fits Juan Manuel so exactly that it is commonly applied to him ; but, in truth, its author in- tended it for another Don Juan without the ''Manuel" , uncle of the boy-king, Alfonso XI.

Upon the regency followed a spell of wars, broils, rebellions, assassinations, wherein King and ex-Regent were pitted against each other.

In the General Introduction to his works he foresees, so he announces, that his books must be often copied, and he knows that this means error: — ''as I have seen happen in other copies, either because of the transcriber's dulness, or because the letters are much alike.

And he closes his General Introduction with this prayer : — " And I beg all those who may read any of the books I made not to blame me for whatever ill-written thing they find, until they see it in this volume which I myself have arranged.

The loss of the Book of Verses is a real calamity ; all the more that it existed at Peftafiel as recently as the time of Argote de Molina , who meant to publish it.

A treatise like his Libro de Caza Book of Hawking , recently recovered by Professor Baist, needs but to be mentioned to indicate its aim.

His histories are mere epitomes of Alfonso's chronicle. The Libro dei. Caballero et del Escudero Book of the Knight and Squire , in fifty-one chapters, of which some thirteen are missing, is a didacticism,?

A hermit who has abandoned war instructs an ambitious squire in the virtues of chivalry, and sends him to court, whence he returns "with much wealth and honour.

In some sort the Tratado sobre las Armas Treatise on Arms is a memoir of the writer's house, containing a powerful presentation of the death of Juan Manuel's guardian.

King Sancho, passing to eternity beneath his father's curse. He repro- duces Sancho's excellent manner and sound practical advice without the flaunting erudition of his cousin.

The Castigos are suspended to supply the monk, Juan Alfonso, with a treatise on the Modes of Love, fifteen in number ; being, in fact, an ingenious discussion on friend- ship.

The allegorical didactic vein is worked to exhaustion in one hundred and fifty chapters, which relate the education of the pagan Morovan's son, Johas, by a certain Turfn, who, unable to satisfy his pupil, calls to his aid the celebrated preacher Julio.

After interminable discussions and resolutions of theo- logical difficulties, the story ends in the baptism of father, son, and tutor.

Dominic who, as a matter of fact, died before Juan Manuel's father was born. This confused philosophic story, suggestive of the legend of Barlaam and Josaphat, is in truth the vehicle for conveying the author's ideas on every sort of question, and it might be described without injustice as the carefully revised commonplace book of an omni- vorous reader with a care for form.

A postscript to the Book of States is the Book of Preaching Friars y a summary of the Dominican constitution expounded by Julio to his pupil.

A very similar dissertation is the Treatise showing that the Blessed Mary is, body and soul y in Paradise , directed to Rem6n Masquefa, Prior of Peftafiel.

The convention of the " moral lesson " is maintained, and each chapter of the First Part the others are rather un- finished notes ends with a declaration to the effect that "when Don Johan heard this example he found it good, ordered it to be set down in this book, and added these verses" — the verses being a concise summary of the prose.

Boccaccio used the frame- work first in Italy, but Juan Manuel was before him by six years, for the Conde Lucanor was written not later than The examples are taken from experience, and are told with extraordinary narrative skill.

Simplicity of theme is matched by simplicity of expression. He lacks the merri- ment, the genial wit of the Archpriest ; but he has the same gift of irony, with an added note of cutting sarcasm, and a more anxious research for the right word.

In mind as in blood he is the great Alfonso's kinsman, and the relation becomes evident in his treat- ment of the prose sentence. He inherited it with many another splendid tradition, and, while he preserves entire its stately clearness, he polishes to concision ; he sets with conscience to the work, sharpening the edges of his instrument, exhibits its possibilities in the way of trenchancy, and puts it to subtler uses than heretofore.

In his hands Castilian prose acquires a new ductility and finish, and his subjects are such that dramatists of genius have stooped to borrow from him.

Pilferings by Le Sage are things of course, and Gil Bias benefits by its author's reading. Translations apart — and they are forthcoming — the Conde Lucanor is one of the books of the world, and each reading of it makes more sensible the loss of the verses which, one would fain believe, might place the writer as high among poets as among prose writers.

That King's sole exploit in literature is a handbook on venery, often attributed to Alfonso the Learned. It is to be noted that he speaks of rendering Merlin's prophecy in the Castilian tongue : — " Yo Rodrigo Yannes la noti En lenguaje castellafio" Everything points to his having translated from a Galician original, being himself a Galician who hispaniolised his name of Rodrigo Eannes.

Strong arguments in favour of this theory are advanced by great authorities — Pro- fessor Cornu, and that most learned lady, Mme.

Carolina Michaelis de Vasconcellos. In the first place, the many technical defects of the Poema vanish upon translation into Galician ; and next, the verses are laced with allu- sions to Merlin, which indicate a familiarity with Breton legends, common enough in Galicia and Portugal, but absolutely unknown in Spain.

Be that as it prove, the Poema interests as the last expression of the old Castilian epic. His last appearance on any stage is marked by a portent — the suppression of the tedious Alexandrine, and the resolution into two lines of the sixteen-syllabled verse, Yaftez is an excellent instance of the third-rate man, the amateur, who embodies, if he does not initiate, a revolution.

His own system of octosyllabics in alter- nate rhymes has a sing-song monotony which wearies by its facile copiousness, and inspiration visits him at SEM TOB 87 rare and distant intervals.

But the step that costs is taken, and a place is prepared for the young romance in literature. The moral is pressed with insistence, the presentation is haphazard ; while the extreme con- cision of thought, the exaggerated frugality of words, tends to obscurity.

Against this is to be set the exalted standard of the teaching, the daring figures of the writer, his happiness of epithet, his note of austere melancholy, and his complete triumph in naturalising a new poetic genre.

In the case of the anonymous Danza de la Muerte the metre once more fixes the period of composition at about the end of the fourteenth century.

It is not rash to assume that its immediate occasion was the last terrific outbreak of the Black Death, which lasted from to Death bids mankind to his revels, and forces them to join his dance.

The form is superficially dramatic, and the thirty-three victims — pope, emperor, cardinal, king, and so forth, a cleric and a layman always alternating — reply to the summons in a series of octaves.

Whoever composed the Spanish version, he must be accepted as an expert in the art of morbid allegory.

A writer who represents the stages of the literary evo- lution of his age is the long-lived Chancellor, Pero L6pez DE Ayala His career is a veritable romance of feudalism.

Living under Alfonso XL, he became the favourite of Pedro the Cruel, whom he deserted at the psychological moment. He chronicles his own and his AY ALA 89 father's defection in such terms as Pepys or the Vicar of Bray might use: — "They saw that Don Pedro's affairs were all awry, so they resolved to leave him, not intend- ing to return.

Loyalty he held for a vain thing compared with interest ; yet he earned his money and his lands in fight. He ever strove to be on the winning side, but luck was hostile when the Black Prince captured him at Ndjera , and when he was taken prisoner at Aljubarrota The fifteen months spent in an iron cage at the castle of Oviedes after the second defeat gave Ayala one of his opportunities.

He had wasted no chance in life, nor did he now. It were pleasant to think with Ticknor that some part of Ayala's Rimado de Palacio " was written during his imprisonment in England," — pleasant, but difficult.

To begin with, it is by no means sure that Ayala ever quitted the Penin- sula. More than this : though the Rimado de Palacio was composed at intervals, the stages can be dated approxi- mately.

The earlier part of the poem contains an allu- sion to the schism during the pontificate of Urban VI. Rimado de Palacio Court Rhymes is a chance title that has attached itself to Ayala's poem without the author's sanction.

It gives a false impression of his theme, which is the decadence of his age. Only within narrow limits does Ayala deal with courts and courtiers ; he had a wider outlook, and he scourges society at large.

Ruiz had a natural sympathy for a loose-living cleric ; Ayala lashes this sort with a thong steeped in vitriol. The one looks at life as a farce ; the other sees it as a tragedy.

Where the first finds matter for merriment, the second burns with the white indignation of the just. The deliberate mordancy of Ayala is impartial insomuch as it is universal.

Courtiers, statesmen, bishops, lawyers, merchants — he brands them all with corruption, simony, embezzlement, and exposes them as venal sons of Belial.

And, like Ruiz, he places himself in the pillory to heighten his effects. He spares not his superstitious belief in omens, dreams, and such-like fooleries ; he dis- covers himself as a grinder of the poor man's face, a libidinous perjurer, a child of perdition.

But not all Ayala's poem is given up to cursing. In his th stanza he closes what he calls his sermSn with the confession that he had written it, "being sore afflicted by many grievous sorrows," and in the re- maining stanzas Ayala breathes a serener air.

In both existing codices — that of Campo-Alange and that of the Escorial — this huge postscript follows the Rimado de Palacio with no apparent break of continuity; yet it differs in form and substance from what precedes.

The cuaderna via alone is used in the satiric and auto- biographical verses ; the later hymns and songs are metrical experiments — echoes of Galician and Provencal measures, redondillas of seven syllables, attempts to raise the Alexandrine from the dead, results derived from Alfonso's Cantigas and Juan Ruiz' loores.

In his seventy-third year Ayala was still working upon his Rimado de Palacio. Gregory's Job, If he be the writer of the Pro- verbios en Rimo de SalomSn — a doubtful point — his pre- ference for the old system is there undisguised.

Could that system have been saved, Ayala had saved it : not even he could stay the world from moving. His prose is at least as distinguished as his verse.

A treatise on falconry, rich in rarities of speech, shows the variety of his interests, and his version of Boc- caccio's De Casibus Virorum illustrium brings him into touch with the conquering Italian influence.

His refer- ence to Amadh in the Rimado de Palacio stanza , the first mention of that knight-errantry of Spain, proves acquaintance with new models.

Translations of Boetius and of St. Isidore were pastimes ; a partial rendering of Livy, done at the King's command, was of greater value.

In person or by proxy, Alfonso the Learned had opened up the land of history ; Juan Manuel had summarised his uncle's work ; the chronicle of the Moor Rasis, other- wise Abu Bakr Ahmad ibn Muhammad ibn Musa, had been translated from the Arabic ; the annals of Alfonso XL and his three immediate predecessors were written by some industrious mediocrity — perhaps Ferndn Sanchez de Tovar, or Juan Niifiez de Villaizdn.

These are not so much absolute history as the raw material of history. Songs, legends, idle reports, no longer serve as evidence.

Ayala sifts his testimonies, compares, counts, weighs them, checks them by personal knowledge. He deals with events which he had witnessed : plots which his crafty brain inspired, victories wherein he shared, battles in which he bit the dust.

The portraits in his gallery are scarce, but every likeness is a masterpiece rendered with a few broad strokes.

He records with cold-blooded im- partiality as a judge ; his native austerity, his knowledge of affairs and men, guard him from the temptations of the pleader.

With his unnatural neutrality go rare in- stinct for the essential circumstance, unerring sagacity in the divination and presentment of character, unerring art in preparing climax and catastrophe, and the gift of concise, picturesque phrase.

Few, if any, of the existing ballads date from Ayala's time ; and of the nineteen hundred printed in Duron's Romancero General the merest handful is older than , when Antonio de Nebrija examined their structure in his Arte de la Lengua Castellana.

Yet the older romances were numerous and long-lived enough to sup- plant the cantares de gesta, against which chronicles and annals made war by giving the same epical themes with more detail and accuracy.

In turn these chronicles afforded siijajects for romances of a later day. An illus- tration suffices to prove the point.

Representative of these innovations is the grandson of Enrique II. Villena, of whose treatise mere scraps survive, shows minute acquaintance with the works of early trovadores ; of general principles he says naught, losing himself in discursive details.

Early in followed the Trabajos de Hercules Labours of Her- cules , first written in Catalan by request of Pero Pardo, and done into Castilian in the autumn of the year.

This tedious allegory, crushed beneath a weight of pedantry, is unredeemed by ingenuity or fancy, and the style is disfigured by violent and absurd inversions which bespeak long, tactless study of Latin texts.

Juan Manuel's digni- fied restraint is lost on his successor, itching to flaunt 1 Strictly speaking, this writer should be called Enrique de Arag6n ; but, since this leads to confusion with his contemporary, the Infante Enrique de Arag6n, it is convenient to distinguish him as Enrique de Villena.

He was not a marquis, and never uses the title. Still odder is the Libro de Aoja- miento Dissertation on the Evil Eye with its three "preventive modes," as recommended by Avicenna and his brethren.

Translations of Dante and Cicero are lost, and three treatises on leprosy, on consolation, and on the Eighth Psalm are valueless.

Villena piqued himself on being the first in Spain — he might perhaps have said the first anywhere — to translate the whole jEneid ; but he marches to ruin with his mimicry of Latin idioms, his abuse of inversion, and his graces of a cart-horse in the lists.

No contemporary was more famed for uni- versal accomplishment ; so that, while he lived, men held him for a wizard, and, when he died, applauded the partial burning of his books by Lope de Barrientos, afterwards Bishop of Segovia, who put the rest to his private uses.

Santillana and Juan de Mena assert that Villena wrote Castilian verse, and Baena implies as much ; if so, he was probably a common poetaster, the loss of whose rhymes is a stroke of luck.

A Castilian poem on the labours of Hercules, ascribed to him by Pellicer, is a rank forgery. Measured by his repute, Villena's works are disappointing.

But if we reflect that he translated Dante, that he strove to naturalise successful foreign methods, and that in his absurdest moments he proves his susceptibility to new ideas, we may explain his renown and his influence.

To Villena's time belong two specimens of the old encyclopaedic school : the Libro de los Gatos, translated from the Narrationes of the English monk, Odo of Cheriton ; and the Libro de los Enxemplos of Clemente SAnchez of Valderas, whose seventy-one missing stories were brought to light in by M.

The style is carefully modelled on Juan Manuel's manner. This collection, first pub- lished in , mirrors two conflicting tendencies. The old Galician school is represented by Alfonso Alvarez de Villa- sandino sometimes called de lUescas , a copious, foul- mouthed ruffian, with gusts of inspiration and an abiding mastery of technique.

Macfas has left five songs of slight distinction, and, as a poet, ranks below Rodriguez de la Cimara.

Yet he lives on the capital of his legend, the type of the lover faithful unto death, and the circumstances of his passing are a part of Castilian literature.

Quoted times innumerable, this more or less authentic story of Macfas' end ensured him an immortality far beyond the worth of his verses : it fired the popular imagination, and enters into literature in Lope de Vega's Porfiar hasta morir and in Larra's El Doncel de Don Enrique el Doliente, A like romantic memory attaches to Macfas' friend, Juan Rodriguez de la Cdmara also called Rodrfguez del Padr6n , the last poet of the Galician school, re- presented in Baena's Cancionero by a single cdntica.

The conjectures that make Rodrfguez the lover of Juan II. None the less it is certain that the writer was concerned in some myste- rious, dangerous love-affair which led to his exile, and, as some believe, to his profession as a Franciscan monk.

His seventeen surviving songs are all erotic, with the exception of the Flama del divino RayOy his best performance in thanksgiving for his spiritual conversion.

His loves are also recounted in three prose books, of which the semi-chivalresque novel, El Siervo litre de Amory is still readable.

But Rodrfguez interests most as the last representative of the Galician verse tradition. Save Ayala, who is exampled by one solitary poem, the oldest singer in Baena's choir is Pero Ferrus, the connecting link between the Galician and Italian schools.

A learned rather than an inspired poet, Ferrus is remeiti- bered chiefly because of his chancy allusion to Amadis in the stanzas dedicated to Ayala.

Imperial, as his earliest poem shows, read Arabic and English. He may have met with Gower's Confessio Amantis before it was done into Castilian by Juan de la Cuenca at the beginning of the fifteenth century — being the first translation of an English book in Spain.

Howbeit, he quotes English phrases, and offers a copy of French verses. These are trifles : Imperial's best gift to his adopted country was his transplanting of Dante, whom he imitates assiduously, reproducing the Florentine note with such happy intonation as to gain for him the style of poet — as distinguished from trovador — from Santi- llana, who awards him '' the laurel of this western land.

At least one piece by Ferrant Sdnchez Talavera is memorable — the elegy on the death of the Admiral Ruy Diaz de Mendoza, which anticipates the mournful march, the solemn music, some of the very phrases of Jorge Manrique's noble coplas.

In the Dantesque manner is Gonzalo Martinez de Medina's flagellation of the cor- ruptions of his age. Baena, secretary to Juan II.

A remarkable letter to the Constable of Portugal shows Santillana as a pleasant prose-writer ; in his rhetorical Lamentation en Propheqia de la segunda Destruyqion de Espafia he fails in the grand style, though he succeeds in the familiar with his collection of old wives' fireside proverbs, Refranes que diqen las Viejas tras el Huego.

It is impossible to say of Santillana that he was an original genius : it is within bounds to class him as a highly gifted versifier with extraordinary imitative powers.

He has no " message " to deliver, no wide range of ideas : his attraction lies not so much in what is said as in his trick of saying it.

He is one of the few poets whom erudition has not hampered. He was familiar with writers as diverse as Dante and Petrarch and Alain Chartier, and he reproduces their characteristics with a fine exactness and felicity.

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Solfs Bonn Florentiusgraben 54, D Bonn. Durch Solf sei, so Noske, in der Kolonialpolitik endlich ein verständiger Geist eingezogen. Angebot 1. Bei uns finden Sie die größte Auswahl an aktuellen Unterhaltungs- und Spielautomaten in der Region Köln/Bonn/Rhein-Sieg. Wir präsentieren ständig die. Automaten Solf bringt über 50 Jahre Erfahrung rund um den Bereich '​Unterhaltung' mit. Wir betreiben eigene, hochmoderne Spielstätten und betreuen mit. Wir, die Solf´s Spielstätten, freuen uns auf Ihren Besuch! Wir bieten Spiel, Spaß, Service und Unterhaltung auf höchstem Niveau! Wir sind Ihr Treffpun. Heute geöffnet? ❌ÖFFNUNGSZEITEN von „Spielothek Solf´s“ in Bonn ➤ Öffnungszeiten heute ☎ Telefonnummer ✅ Kontaktdaten ✅ Anfahrt ☆ Bewertungen. Tänä aikana perustettiin useita pienyrityksiä, mm. Mitä Sulva voi Spielsucht AngehГ¶rige LГјgen Go explore. Stundars är ett stort museum och ett levande kulturcentrum, som starkt präglar bygden. Solfs, Bonn Arcade. germany › Nordrhein-Westfalen › Reg.-Bez. Köln › Bonn › Arcade › Solfs. Adress. Bertha-von-Suttner-Platz Bonn. Phone number Places near Solfs. Subway. Sandwich Shop. 11 meters Tiefenrausch Bonn. Night Club. 11 meters Schickimicki Club Bar. Night Club. 20 meters Coppeneur Chocolatier. Solfs Moderne Spielstätten in Bonn, reviews by real people. Yelp is a fun and easy way to find, recommend and talk about what’s great and not so great in Bonn and beyond. Solfs Moderne Spielstätten - Arcades - Hans-Böckler-Str. 5, Bonn, Nordrhein-Westfalen, Germany - Phone Number - YelpLocation: Hans-Böckler-Str. 5 Bonn Germany. 7/15/ · Pool Hall in Bonn, Nordrhein-Westfalen. Solfs Moderne Spielstätten Hans-Böckler-Str. 5 Bonn - Beuel (0) Spielhalle Bonn. Mehr Infos Mehr Infos (0) Freetime GmbH Roitzheimer Str. Solf oHG, August in Bonn wurde aktualisiert am Eintragsdaten vom Wilhelm Solf — () Signatur Wilhelm Solfs Wilhelm Heinrich Solf (* Deutsch Wikipedia. Wilhelm Levison — (* Mai in Düsseldorf; † Januar in Durham) war ein deutscher Historiker. Wilhelm Levison lehrte als Professor für Geschichte an der Universität Bonn. Solfs historia behandlas i böckerna Solf sockens historia, Kyrkoby folkskola i Solf och Solf kyrka och dess minnen av folkskolläraren Gunnar Rosenholm. Han gav sig ut i byarna på , , och talet för att samla in allmogeföremål och folkminnen. Ideen-Fabrik GmbH. Lehenbergstraße 7 - 9 Westerheim Tel +49 Fax +49 [email protected] Adresse in Google Maps anzeigen. Hyviä esimerkkejä tästä ovat koulun Online Rummikub Spelen keskustaan rakennettu maauimala sekä urheilutuvan hiihtolatu. Sulvasta löytyy työpaikkoja vaihtelevasti, ja ne kattavat eri elinkeinoalat maanviljelystä teollisuuteen, aina palveluihin ja kunnallissektoriin. My results reinforce the prevalence of variation in species richness and abundance along vertical, altitudinal, and temporal scales, accentuating the significance of considering tropical bat diversity in space and time. Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text Gem Drop Free Online. Solfs Bonn toivoisivat Sulvan kehittyessä erityisesti terveysasemaa keskustaan sekä palvelutaloa vanhuksille. I discussed guild composition and structure with the purpose of identifying how resource differentiation may influence bat diversity in these sites. To accomplish a more complete bat inventory, I complemented my long-term understory and canopy mist-netting inventory with 3 Mohammed Abou-Chaker of acoustic inventory. Stundars är ett stort museum och Gambling Bovada levande kulturcentrum, som starkt präglar bygden. I owe a very special acknow- rledgment to my friend Sr, D. Audio Software icon An illustration of a 3. Close Text corrections. It has been thought that this Www.GlГјcksrakete.De saves much digression.

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Die Erlöse wurden gänzlich für das Schulsystem und die Gehälter der Distrikthäuptlinge ausgegeben.

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