CHAPTER VI

CONCLUSION: GENERAL DESCRIPTION OF TIRANT LO BLANCH

The Catalan romance of chivalry, _Tirant lo Blanch_, may be described as a composite historical novel with a hero of a composite historical character. From the beginning of the work to the end of the William of Warwick episode the scenes are laid in England, and were it not for the fact that Martorell describes a Moorish invasion as taking place in that kingdom, we should be obliged to say that the atmosphere is absolutely English. However, after Tirant’s return to the continent, a purely Catalan or Aragonese spirit pervades the romance to the very end. The names of other countries may be given as the scenes of Tirant’s activities, but the Catalan heart and mind are always in evidence. The author’s direct experience and his intimate acquaintance with the history of his country find expression at every favorable opportunity. Whatever is described or narrated bears a pronounced Catalan stamp. Tirant’s relief expedition to Rhodes is based on the siege of that place in 1444, but the manner in which he succeeded in reaching the castle was copied from Roger de Flor’s successful attempt to relieve Messina. The expedition of the King of France against the infidels is based on the crusades of Louis IX; yet the way that it ravaged the shores of Turkey was very similar to the manner in which the vessels of King Jaime, King Peter’s predecessor, devastated the shores of Africa. Tirant’s activities in the service of the Emperor of Constantinople are based on the Catalan-Aragonese expedition to the East under the leadership of Roger de Flor, but it cannot be forgotten that the English romance, _Guy of Warwick_, has left strong and indisputable traces in this part of the work. The conquest of Barbary is based on the experiences of the kings of Aragon with the Saracens of northwestern Africa, but, in making use of these historical elements, Martorell absolutely disregards their chronological order. According to these historical data, Tirant’s military career begins in the middle of the fifteenth century and ends incongruously in the early years of the fourteenth. The hero is made up of elements taken from Guy of Warwick, Richard of Beauchamp, Roger de Flor, Saint Louis, Peter the Second of Aragon and others. It is clear that Martorell had no intention of singing the praises of Roger de Flor or of any other historical personage. In fact it seems that he attempts to disguise and conceal the historical elements. If he had adhered to these elements too closely, he would by that very act have deprived himself of the liberty of proceeding with his composition as he pleased.

Martorell had probably no other purpose in view than that of writing a romance of chivalry in which the hero was to conform in the main to his notion of what constituted a great military leader. He was of a practical bent and he desired to present to us a lifelike hero, one whose exploits should be within the bounds of possibility. All material that was given place in his work seems to be based on what he himself directly observed or what he had read or heard related. No wild flights of the imagination are attempted. Occasionally passages are met with relating incredible occurrences, but these are not of his own invention. Within this work may be found religious and philosophical discourses; speeches and disputations among members of the imperial councils; formal debates among members of the imperial family; documents and papers drawn up by notaries; formal challenges and replies to these; dramatic lamentations; long and fervent prayers; and allusions to classical Latin authors, to biblical characters and to figures prominent in mediaeval literature. Many of these features bear evidence that they are not original with Martorell, but were copied, some closely, others loosely, from models that he found here and there. But at times he is delightfully original. On these occasions his narrations are natural and the dialogues exceedingly sprightly, making a striking contrast with his other heavy and stilted literary efforts. It is to be regretted that he did not cast aside the models that he copied or imitated, and free himself from the influence of other authors. His book would in that case have been reduced to approximately one-fourth of its present size, but quite probably it would now be considered a masterpiece of narration and dialogue.

Martorell, to judge him by the work that he has produced—unfortunately we know nothing at all concerning him from any other source—gives us the impression that he was a monk or an ecclesiastic. The intensely religious spirit that pervades the book, the sermons and prayers, and the efforts to conquer or crush the enemies of the Holy Catholic Church point strongly in that direction. His high regard for the orders of knighthood and his great admiration for distinguished heroes give some grounds for believing that he was a member of a military order. However, the various documents drawn up in legal form leave the impression that he was a notary. But he has included in his work several features that are not in harmony with a serious and lofty purpose. From these a fair idea of his character and disposition may be obtained. He is jolly, jovial, frivolous, talkative, _malicieux_, and bold even to impertinence. He is queer and eccentric. He has peculiar ideas as to the fitness of things. He shows extremely bad taste from the standpoint of the present time. Sometimes he permits his hero to conduct himself in an undignified manner, or makes him the victim of mishaps that tend to decrease our admiration for him. And then as a climax to these occasional disparaging portrayals, he endows his hero with a low, immoral nature.

Tirant lo Blanch is pictured to us as a noble, generous, religious, intrepid, valiant, and invincible military leader. He is admirable in all respects but one—he is morally a weakling. This inconsistency, together with other incongruities, has led a scholarly critic[80] to declare that _Tirant lo Blanch_ is a parody on the romances of chivalry and that “the animus of the whole narrative is satire.” But the romance taken as a whole does not warrant such a conclusion, for the general tone of it is earnest and sincere. Several features of the work seem to be presented in a satirical spirit, but still it is very doubtful that the author intended to hold up certain foibles, follies or vices to reprobation and ridicule. Is it not rather probable that these features are due to the realistic tendencies of the author, or to his whims and humors? Were some of these features perhaps intended as a protest against the immorality of knights in general? Were they to teach a moral lesson? If these questions are answered affirmatively, difficulties will confront us, for Hypolite, the paramour of the empress, is not punished for his sinful liaison; on the contrary he is rewarded, for after the death of the emperor and the princess he becomes the imperial ruler and his reign is a long and glorious one. Nor was he to be punished in the next world, for we are told “... e podeu creure que per lo bon regiment, e per la bona e virtuosa vida fon [Lemperador e la Emperadriu] collocats en la gloria de paradis.”[81] It is impossible to believe that it was Martorell’s purpose to deride and ridicule the deeds of prowess and the noble enterprises of the champion knight of the English court, the deliverer of the Knights of Rhodes, the intrepid knight of the French king’s expedition against the infidels, the missionary-conqueror of Barbary, and the liberator of the Grecian Empire. Surely the spirit of the narration of these important activities of Tirant is not satire.

[80] F.M. Warren, _A History of the Novel Previous to the Seventeenth Century_, New York, 1895; pp. 173 and 175.

[81] ... and you may feel assured that on account of their excellent rule, and their good and upright lives, they were taken up to enjoy the glories of paradise.

This Catalan romance of chivalry may have been conceived in accordance with the taste of Martorell’s times, but conditions have changed. The standards by which we measure the actions of men now are not the same as they were then. If an author wishes us to become enthusiastic in our admiration for his hero, the latter must conform to our standards. We insist that the protagonist be, above all, heroic from a moral standpoint. If he lacks that attribute we cannot give him a full measure of appreciation. An immoral hero is a paradox, an impossibility with us of the present day; consequently we shall never be able to regard Tirant lo Blanch as a great hero. But from the foregoing study it may perhaps appear that the “cura’s” estimate, composed both of enthusiasm and reprobation (as set forth in the passage quoted in the opening paragraph), is not unworthy of the good sense and critical acumen of the great Cervantes.

FINIS.

BIBLIOGRAPHY

AMADOR DE LOS RÍOS, JOSÉ, _Historia critica de la literatura española_, Madrid, 1861-1865.

ASHMOLE, ELIAS, _The Institution, Laws and Ceremonies of the most Noble Order of the Garter_, London, 1672.

BONSOMS Y SICART, ISIDRO, and RUBIÓ Y LLUCH, ANTONIO, _Discursos leídos en la Real Academia de Buenas Letras de Barcelona en la recepción publica de D. Isidro Bonsoms y Sicart el día 9 de Mayo de 1907_, Barcelona, 1907.

CALDERON, JUAN, _Cervantes vindicado en ciento y quince pasajes del texto del ingenioso hidalgo_, Madrid, 1854.

CERVANTES, _El ingenioso hidalgo Don Quijote de la Mancha_, edited and annotated by Francisco Rodríguez Marín, Madrid, 1911.

CERVANTES DE SAAVEDRA, MIGUEL DE, _El ingenioso hidalgo Don Quijote de la Mancha_, with commentaries by Diego Clemencín, annotated by Miguel de Toro Gómez, Paris, 1910.

CLÈDE, M. DE LA, _Histoire générale de Portugal_, Paris, 1735.

CUST, ELIZABETH, _The Stuarts of Aubigny_, London, 1891.

DENK, OTTO, _Einführung in die Geschichte der altcatalanischen Litteratur_, Munich, 1893.

_Documents inédits sur l’histoire de France, première série_, Paris, 1862.

DUNLOP, JOHN COLIN, _History of Prose Fiction_, edited by Henry Wilson, London, 1896.

GIVANEL MAS, JUAN, _Estudio crítico de Tirant lo Blanch_, Madrid, 1912.

GUTIÉRREZ DEL CAÑO, MARCELINO, _Ensayo bibliográfico de “Tirant lo Blanch.” Revista de Archives, Bibliotecas y Museos_. September-December number of the year 1917, Madrid, 1917.

_Guy of Warwick_, Fourteenth-century versions, edited from the Auchinleck MS. in the Advocates’ Library, Edinburgh, and from MS. 107 in Caius College, Cambridge, by Julius Zupitza, Early English Text Society, London, 1883, 1887, and 1891.

JOINVILLE, JEHAN SIRE DE, _Histoire de Saint Loys, Collection Complète des mémoires par M. Petitot_, Paris, 1819.

_La Soberana Orden Militar de San Juan de Jerusalem ó de Malta, por un Caballero de la Orden_, Madrid, 1889.

LULL, RAYMOND, _Libre del Orde d’Cauayleria_, Barcelona, 1879.

MENÉNDEZ Y PELAYO, M., _Orígenes de la Novela_, Madrid, 1905.

METGE, EN BERNAT, _Lo Somni d’En Bernat Metge_, edited by R. Miquel y Planas, Barcelona, 1907.

MONCADA, FRANCISCO DE, _Expedición de los catalanes y aragoneses contra turcos y griegos_, Madrid, 1777.

MUNTANER RAMON, _Chronica, o Descripcio dels fets, e hazanyes del Inclyt Rey Don Iaume Primer Rey Darago, de Mallorques, e de Valencia: Compte de Barcelona, e de Muntpesller: e de molts de sos descendens_, edited by Karl Lans, Stuttgart, 1844. _Bibliothek des literarischen Vereins in Stuttgart._

NICOLAU Y D’OLWER, LUIS, _Sobre les fonts catalanes del Tirant lo Blanch_. _Revista de Bibliografía catalana_, Barcelona, 1907.

NUÑES DE LEAÕ, DUARTE, _Cronicas del rey Don Joaõ de gloriosa memoria, o I. deste nome, e dos reys de Portugal o X., e as dos reys D. Duarte, e D. Affonso o V._, Lisbon, 1780.

PORTER, WHITWORTH, _A History of the Knights of Malta_, London, 1883.

THE COUNTESS OF WARWICK, _Warwick Castle and its Earls_, New York and London, 1903.

VERTOT, ABBÉ DE, _Histoire des Chevaliers Hospitaliers de S. Jean de Jérusalem_, Paris, 1726.

WARREN, F.M., _A History of the Novel previous to the Seventeenth Century_, New York, 1895.

INDEX

Adrianople, 64, 115.

Aethelstan, 99, 134.

Agnes, daughter of the Duke of Berry, 19.

Aguiló y Fuster, D. Mariano, 4.

Ahones, En Ferran de, 113, 119.

Aiguesmortes, 150.

Alcoyl, 155.

Alet, En Corberan de, 114.

Alexandria, 8, 29, 123.

Alfonso V, 75, 144.

Alimburch, 9, 10, 13, 74.

Amador de los Ríos, José, 97, 129.

Amoraunt, 123.

Amurates, 147.

Anatolia, 113, 114, 115.

Ania, 114.

Antioch, 123.

Arena, 118.

Argus, 122.

Armini, 40.

Artaqui, 114.

Ashmole, Elias, 142, 145.

Aubigny, 137.

Barbary, 27, 32, 53, 54, 56, 57, 60, 111, 122, 132, 152, 154, 156, 161.

Barcelona, 3, 4.

Beauchamp, Richard de, 135-137, 158.

Beaufort, Sir Thomas, 138.

Beauvais, 136.

Beirut, 26, 29.

Bellpuig, 46, 47.

Biblioteca Provincial in Valencia, 3.

Blancha, 16.

Boccaccio, 128.

Bonsoms y Sicart, D. Isidro, 3, 5, 74.

British Museum, 3.

Brittany, 15, 25, 26, 29, 76, 132.

Brunanburh, 134.

Bugia, 154.

Bugron, 155.

Caen, 136.

Caesar, Julius, 144.

Caesar of the Empire, 63, 64, 66, 71, 115.

Calais, 136.

Cale ben Cale, 152.

Cape Saint Vincent, 27.

Caramen, 59.

Carmesina, 34, 36, 40, 47, 49, 50, 53, 62, 63, 64, 65, 94, 106, 125, 126, 127.

Catania, 121.

Cataquefaras, 27.

Cervantes, 1, 2, 162.

Charles of Anjou, 112, 156.

Colbrond, 99.

Comte de Caylus, 5.

Comte de Flandes, 143.

Comte d’la Joyosa Guards, 143.

Comte de les marches Negres, 143.

Comte de Salasberi, 143.

Comte de Stafort, 143.

Comte de Vila Mur, 143.

Condam, Pere Miquel, 4.

Conde de Barcellos, 75.

Connétable du Royaume, 76.

Constance, Council of, 136.

Constantine, 60, 154, 155.

Constable of the Empire, 42, 46.

Constantinople, 33, 35, 38, 39, 47, 48, 53, 60, 61, 65, 106, 109, 113, 132, 147, 152.

Cornwall, 14.

Corsica, 31.

Countess of Belestar, 16.

Countess of Warwick, wife of William, 7, 8, 11, 12, 13, 15.

Countess of Warwick, Authoress, 135.

Cyprus, 29, 32, 150.

Damietta, 150.

Danish Northumbria, 133.

Dantona (d’Antona), 8, 13.

Denk, Otto, 97, 129.

Dentença, En Berenguer, 115, 117.

Diaphebus, 18, 24, 29, 31, 33, 34, 37, 40, 42, 46, 47, 51, 52, 64, 119, 128, 140.

Diocletian, 145.

Don Quijote de la Mancha, 1, 2, 5.

Duc de Viseo, 76.

Duch d’Anjou, 143.

Duch de Berri, 143.

Duch de Tenes, 118.

Duke of Aygues Vives, 17.

Duke of Bavaria, 21.

Duke of Bedford, 11, 14, 134, 143.

Duke of Berry, 19.

Duke of Burgundy, 21.

Duke of Burgundy, brother of, 17.

Duke of Brittany, 26.

Duke of Clarence, 137.

Duke of Cleves, 17.

Duke of Exeter, 11, 16, 134, 137, 138, 143.

Duke of Gloucester, 11, 14, 134, 143, 144.

Duke of Lancaster, 11, 134, 143.

Duke of Macedonia, father of Stephania, 35.

Duke of Macedonia, commander, 35, 36, 38, 39, 42, 44, 45, 46, 110, 117.

Duke of Messina, 44, 117.

Duke of Pera, 52.

Earl Jonas of Darras, 123.

Earl of Northumberland, 15, 137, 143.

Earl of Salisbury, 14, 137, 143.

Earl of Sent Angel, 46, 47.

Earl of Stafford, 14, 143.

Earl Rohold, 99, 105.

Edward, King of Portugal, 75, 144.

Edward the Third of England, 142, 143.

Elena, 118.

Emir Costdram, 107.

Emir Persan, 122.

Emperor of Constantinople, 33, 42, 44, 46, 48, 50, 62, 63, 65, 112, 132, 158.

Emperor of Germany, 104, 106.

Empress of Constantinople, 1, 33, 52, 66, 94, 125, 128, 161.

England, 7, 104, 145.

English Channel, 104.

Esclandar, 107, 110.

Evreux, 137.

Fabour, 123.

Famagosta, 29, 32.

Felice, 99, 101, 105, 109, 125, 127.

Ferdinand I, 75.

Ferdinand of Portugal, Prince, 69, 70, 75, 77, 79, 144, 152.

Ferrer, John, 60.

Fez, 59.

Filadelfia, 114.

Flor, Roger de, 5, 97, 104, 112-116, 120, 129, 149, 158.

Frederick I of Aragon, 112.

Fontsequa, 38.

Galba, Marti Johan de, 71, 78, 91.

Gallipoli, 115.

Genoa, 60.

Gircon, 116.

Givanel Mas, Juan, 3, 73, 95, 97, 129.

Grand Caramany, 48, 49, 50.

Grand Constable of England, 14, 18, 24, 143.

Grand Maître de Christ et de Saint Jacques en Portugal, 76.

Grand Master de Lastic, 148.

Grand Master de Naillac, 149.

Grand Master of the Knights of Saint John, 26, 28, 41, 146, 147.

Grand Turk, 38, 61.

Gulf of Venice, 28, 119.

Gumiel, Diego de, 4.

Guy of Warwick, _see_ Warwick, Guy of.

Harfleur, 136.

Henry V, 135.

Henry VI, 134.

Heraud, 106, 108, 122, 157.

Hercules, Columns of, 126.

Hermitage of Our Lady, 8.

Hippolyte, 1, 41, 47, 50, 52, 64, 66, 94, 128, 161.

Hispanic Society of New York, 3, 4.

Huntington, Archer M., 3.

Infanta Carmesina, 33.

Infanta de França, 140.

Institut d’Estudis Catalans, 3.

Jaffa, 29.

Jaime, King of Aragon, 158.

Jerusalem, 8, 27, 29, 99, 123, 135.

Joane, Countess of Salisbury, 142.

John I, 144.

Joinville, 150.

Justinian, 63.

King of Africa, 45.

King of Aragon, 31, 154.

King of Canary, 8, 10.

King of Cappadocia, 45.

King of Castile, 31.

King of Egypt, 43, 45, 110.

King of England, 9, 10, 15, 20, 24, 140, 141.

King of Fez and Bugia, 59, 62.

King of France, 26, 30, 31, 32, 50, 132, 148, 150, 158.

King of Friesland, 21, 22.

King of Morocco, 154.

King of Naples, 112.

King of Navarre, 31.

King of Poland, 21, 23.

King of Portugal, 27, 31.

King of Sicily, 27, 28, 29, 31, 33, 44, 62, 150.

King of Tremicen, 54, 55, 56, 111, 154.

King of Tunis, 54, 154.

King of Upper India, 48, 49, 50.

Knights of Saint John, 26, 28, 132.

Knights of Rhodes, 26.

La Clède, M. de, 76.

Leonor de Aragón, 75.

Lérida, 60.

Lisbon, 27, 76.

London, 5, 9, 15, 17, 132, 140.

Loriç, Isabel de, 71.

Louis IX, 150, 158.

Lord of the March of Tirania, 16.

Lull, Raymond, 72, 79, 92, 102, 131.

Lusignan, Jacques de, 147.

Madresilva, 141.

Magnesia, 114.

Mahomet the Second, 147.

Mal Vehi, Knight, 41.

Manfredi, Lelio, 5.

Maragdina, 55, 56.

Marques de Bellpuig, 143.

Marques de Sanct Jordi, 143.

Marques de Sofolch, 143.

Marquis of Saint George, 46.

Marseilles, 32.

Martorell, Johanot, 69, 70, 76, 77, 78, 92, 101, 103, 117, 128, 138, 145, 147, 152, 157, 158-162.

Menéndez y Pelayo, 2, 73, 98, 129.

Messina, 120, 121, 149, 158.

Metge, En Bernat, 88.

Miçer de Riuçech, 143.

Miraboaps, 154.

Mirabosecri, 155.

Mirabusach, 154.

Montagata, 57.

Morgadour, 108, 109, 110, 128.

Muntalba, Kirielayson de, 1, 22.

Muntalba, Thomas de, 1, 22, 23.

Muntalt, Caualler de, 19.

Muntaner, Raymond, 77, 97, 98, 104, 117, 121, 129, 131, 154.

Muntanyanegre, Knight, 16.

Nantes, 26, 66.

Nif, 114.

Normandy, 136.

Northumberland, 99.

Nunes de Leaõ, Duarte, 76.

Oisel, 126.

Order of the Garter, 24, 72, 140.

Orleans, 137.

Palermo, 27.

Paris, 118.

Pelidas, 38, 39.

Pera, 60, 113.

Peter the Second of Aragon and Catalonia, 154, 155, 158.

Philip, 27, 29, 30, 31, 32, 44, 61, 150.

Plaer de mi Vida, 1, 44, 47, 50, 51, 52, 53, 54, 58, 59, 62.

Pope, 26, 31, 156.

Porta del Ferre, 114.

Prince of Wales, 20, 137, 143.

Prior of Saint John, 41, 117.

Portugal, 76, 145, 152.

Queen Jane, 135.

Queen of Scotland, 24.

Real Academia de Buenas Letras de Barcelona, 3.

Reinbrun, 122.

Rex Enricus, 134.

Rhodes, 26, 27, 28, 29, 30, 119, 146, 148, 158, 161.

Ricart lo Ventures, 31, 32, 33, 34, 46.

Ricomana, 27, 30, 44.

Robert, Duke of Catania, 120.

Rocafort, En Berenguer de, 114, 117.

Roger de Flor, _see_ Flor.

Romania, 115, 118.

Rome, 21, 60, 135, 156.

Rouen, 136.

Rous, John, 133.

Rubió y Lluch, D. Antonio, 74.

Saint George, Church of, 18, 24.

Saint Peter, Castle of, 28, 119, 149.

Saint Simplicius, 145.

Saint Sofia, Church of, 40, 65.

Saint Thomas of Canterbury, 9.

Sale ben Sale, 152.

Scariano, 54, 55, 56, 111.

Sciacca, 120.

Scotland, 22, 23.

Senyor Dagramunt, 57, 59.

Senyor de Escala Rompuda, 18, 143.

Senyor de les Viles Ermes, 19.

Senyor de Pantalea, 44.

Senyor de Puig Vert, 143.

Senyor de Terra Nova, 143.

Sicily, 27, 30, 32, 33, 61, 76, 112, 156.

Spires, 106.

Stephania, 35, 36, 37, 40, 44, 47, 50, 51, 106, 119, 128.

Strait of Faro, 120.

Strait of Gibraltar, 27, 32.

Stuart, Sir John, 16, 137, 143.

Sultan, 28, 38, 61, 106.

Sultan of Cairo, 26.

Sultan of Egypt, 148.

Syracuse, 120.

Temple, 130.

Templars, 105.

Tenedos, 118.

Tira, 114, 128.

Tirri, 126.

Trebizond, 63.

Tremicen, 54, 55, 56.

Triamour, 123.

Tripoli in Syria, 31, 150.

Tunis, 27, 32, 56, 150.

Valencia, 3, 71, 145, 154.

Valladolid, 5.

Varoych, Johan de, _see_ Warwick, John of.

Varoych, Guillem de, _see_ Warwick, William of.

Venice, 5, 8, 60, 135.

Verona, 135.

Vertot, Abbé de, 147, 148, 151.

Villa Fermosa, Knight, 22, 23.

Virgil, Polydore, 142.

Viscount of Branches, 50, 117.

Viuda Reposada, 1, 36, 44, 48, 51, 53, 128.

Wales, 14.

Warren, F.M., 150.

Warwick, City of, 8, 9, 10, 101.

Warwick, Guy of, 73, 98, 101, 104, 105, 106, 110, 130, 131, 133, 158.

Warwick, John of, 8, 12, 14, 24, 74, 143.

Warwick, William of, 7, 9, 11, 13, 15, 16, 19, 73, 74, 91, 98, 101, 134.

Winchester, 99, 100.

Windsor Castle, 24, 142.

Xor Miqueli, 113, 115, 117.

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